# Latest concerts



## Aramis

We already got thread to write about our latest purchases and stuff that we are actually listening. How about topic to write about your latest classical concerts? I guess at least some of us attend them regular. 

So, today I went to live performance of Duisburger Philharmoniker orchestra conducted by Jonathan Darlington. The solist was Michael Roll. Setlist was fantastic - Vaughan Williams Fantasia On Theme by TT, Haydn Symphony B-dur, Berlioz Carnaval Romain and finally Beethoven's 4th piano concerto. Great performance. I almost lost my hands giving them applause they deserved.


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## bassClef

On Tuesday I went to see the Prague Symphony Orchestra conducted by Jiri Kout (part of the Prague Spring festival). The programme:
1) Martinu - The Spectre's Bride - I was unfamiliar with this work but it was very enjoyable, especially since it's the first time I've heard a world class choir (Prague Philharmonic Choir) in a first class hall (Smetana Hall in Prague) - quite spine-tingling.
2) Tchaikovsky - Rococo Variations - the tone of Tatjana Vassilieva's Vaslin violoncello (built in 1725 by Stradivarius) was breathtaking - such timbre and resonance. We did not let her leave without playing something else, and she played some nice Bach to finish (one of the suites for solo cello).
3) Stravinsky - The Rite of Spring - this is why I went, my first chance to hear this played live. Completely different experience to listening to a recording. The power was epic! I didn't completely warm to Kout's interpretation - but still, an experience I'll remember for a lifetime.
A wonderful experience all round, and a nice balanced concert - I could have taken another piece or two though!


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## Mirror Image

I saw a person belch on stage last week. That was pretty funny.

I don't go see live music for two reasons: 1. the stupid people you have to deal with and 2. the waste of money it ultimately is, of course, these are just my opinions, but I can get a great experience from my stereo system turned up.


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## bassClef

You're missing out, Mirror. This is the way it was intended to be heard after all, and nothing comes close. It was very relaxed here - no formal dress (smart yes but no silly DJs), no stupid or pretentious people, just genuine knowledgeable music lovers - this wasn't aimed at passing tourists it's been sold out for months. And it was very reasonable - 700 Czech crowns for the best seats in the house = $36 in your money, the programme was only 30Kc ($1.58) and a nice glass of chilled wine at the interval was 50Kc.

I'm going more often!


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## Mirror Image

jezbo said:


> You're missing out, Mirror. This is the way it was intended to be heard after all, and nothing comes close. It was very relaxed here - no formal dress (smart yes but no silly DJs), no stupid or pretentious people, just genuine knowledgeable music lovers - this wasn't aimed at passing tourists it's been sold out for months. And it was very reasonable - 700 Czech crowns for the best seats in the house = $36 in your money, the programme was only 30Kc ($1.58) and a nice glass of chilled wine at the interval was 50Kc.
> 
> I'm going more often!


I'm missing out on what? Overpriced seats, the cost of gasoline, which it takes to go down there, the morons in traffic, and finally, again the stupid people you have to deal with.


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## Elgarian

Can we report on operas here too? I've been to two this week, done by Opera North at the Lowry near Manchester.

Tuesday was Mozart's _Seraglio_ - or was it? They'd changed the plot and the dialogue so radically that I wonder whether Mozart would have acknowledged it as his? If I were a big Mozart fan I'd probably have been quite cross, but as it was, I found it sometimes amusing (in a Christmas pantomime fashion), and I had a fairly pleasant evening in a forgettable sort of way - except for the set, which was very beautiful. They all seemed not-quite-engaged, I thought, as if they too found it all a bit not quite right.

Wednesday was Verdi's _Don Carlos_. This was an experiment. I've never been able to get anywhere with Verdi in the past, but so many things have been changing recently that it seemed now might be the time to have another go. But cor blimey, guvnor, three and a half hours of sheer tedium is not my idea of a good night out. I was unspeakably bored - the first time I have ever actually been bored stiff by a live opera. Not Opera North's fault - the production was fine; the sets very effective; the singing reasonable, albeit not sparkling. No - Verdi's to blame. Well, either Verdi or me. Whichever, the experiment was an abject failure.


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## Aramis

> stupid people you have to deal with.


Don't know what about you, but I don't deal with anybody when I'm on the concert.


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## Mirror Image

Aramis said:


> Don't know what about you, but I don't deal with anybody when I'm on the concert.


So you don't have to deal with traffic, people being in your way, people who won't quit sneezing or coughing, etc.?


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## bassClef

OK you made your point, perhaps you can leave this thread for those of us who enjoy concerts!


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## Aramis

Mirror Image said:


> So you don't have to deal with traffic


If concert leasts almost two hours I can spare twenty minutes to get there.



> people being in your way


Usually I just pass them by.



> people who won't quit sneezing or coughing


Not really. People seems to have some manners here.



> etc.


No. I don't have anthropophobia. You do?


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## bassClef

In November I plan to see the Prague Symphony orchestra at Smetana Hall again playing (1) Ravel - Mother Goose, (2) Berlioz - Harold in Italy, (3) Stravinsky - Firebird. Another cracking programme I can't resist. Tickets aren't on sale yet though!


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## Tapkaara

I love going to concerts. Can't wait for the new season of the San Diego Symphony to get into full swing...!


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## andruini

Well, I'm singing in one tonight if that counts.. We're singing Vivaldi's Gloria RV 289 (the whole thing, not just the famous part), as well as Brahms' Liebeslieder Waltzes and Barber's Sure on this Shining Night.. And some other stuff too.. It should be good..
And tomorrow I'm going to see the National Symphony Orchestra of Mexico play Gerswhin's American in Paris, Rhapsody in Blue and selections from Porgy and Bess.. Can't wait!


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## Mirror Image

Aramis said:


> If concert leasts almost two hours I can spare twenty minutes to get there.
> 
> Usually I just pass them by.
> 
> Not really. People seems to have some manners here.
> 
> No. I don't have anthropophobia. You do?


Well, we do live in other countries, perhaps people are more appreciative of music where you live.

I'm jealous you live in a beautiful city, historic city like Prague. I, at one point, would like to visit it.


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## Isola

Two concerts at the Barbican in London last month:

*Haydn Cello Concerto in D major
Mahler Symphony No 5 in C sharp minor 
BBC Symphony Orchestra 
Jiří Bělohlávek Conductor 
Jean-Guihen Queyras Cello *

The cello concerto was pretty good but I was after Mahler's 5th, with high expectation. May be because I'm used to the recordings such as Bernstein/VPO or Solti/CSO's, I was left disappointed. The interpretation of Bělohlávek was pretty strange at times and the orchestra sounded sluggish.

*Elgar Introduction and Allegro for Strings
Stravinsky Orpheus
Brahms Violin Concerto, Op 77
Nikolaj Znaider violin
Sir Colin Davis conductor
London Symphony Orchestra*

The Elgar piece was written for LSO in 1905 and the orchestra performed it beautifully. Brahms's violin concerto was played brilliantly too, Nikolaj Znaider's performance was truly wonderful, earned him a standing ovation. And the Stravinsky is just very...Stravinsky.


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## bdelykleon

Queyras is a great cellist indeed, some 5 yeas ago I saw him playing the great Lutoslawsky concerto here. and I have the Harmonia Mundi CD of him playing the great cello concertos of Haydn. I would recommend it to anyone.


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## Isola

He is really a fine cellist. In fact I'm thinking of getting his Bach Cello Suites CDs:


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## andruini

After last night's Gershwin concert, I gotta say, I'm starting to see Mirror Image's point.. I guess I just hadn't noticed about the people, but it's true that you have to deal with a lot of dumb people.. I mean, first there's the fake bourgeoisie people with their fanciest attire and their most pricey pearls, who have the most moronic discussions on classical music ever (I hadn't ever bothered listening in).. Then there are the legions of old people who are just loud and obnoxious.. There was this guy next to me who thought he was Beethoven incarnate, acting like he was conducting the music, except he was like half a beat off the whole time and would yell "bravo" at the top of his lungs after every piece.. 
But, there's still few things as exciting as hearing an orchestra live, and the music truly takes a new dimension.. It was a great performance, and the Porgy and Bess excerpts were incredibly entertaining, with an extremely charming tenor in This Sporting Life.. I really enjoyed it..


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## Mirror Image

andruini said:


> After last night's Gershwin concert, I gotta say, I'm starting to see Mirror Image's point.. I guess I just hadn't noticed about the people, but it's true that you have to deal with a lot of dumb people.. I mean, first there's the fake bourgeoisie people with their fanciest attire and their most pricey pearls, who have the most moronic discussions on classical music ever (I hadn't ever bothered listening in).. Then there are the legions of old people who are just loud and obnoxious.. There was this guy next to me who thought he was Beethoven incarnate, acting like he was conducting the music, except he was like half a beat off the whole time and would yell "bravo" at the top of his lungs after every piece..
> But, there's still few things as exciting as hearing an orchestra live, and the music truly takes a new dimension.. It was a great performance, and the Porgy and Bess excerpts were incredibly entertaining, with an extremely charming tenor in This Sporting Life.. I really enjoyed it..


You know what? I would LOVE to go to a concert where people actually respected the music and didn't speak or talk during a performance, but this is just something that I find very unnecessary.

Many weeks ago, the Atlanta Symphony Orchestra (cond: Robert Spano), performed Stravinsky's "Symphony of Psalms" and Mozart's "Requiem." I WOULD HAVE LOVED TO HAVE SEEN THAT!!!!

I have absolutely nothing against seeing a concert. I just think with the way people are, the price it costs for a ticket and just the overall hassle, really just keeps me from going.

I agree there's nothing like hearing it live, but there's absolutely nothing like hearing a great recording coming out of a great stereo and speakers sitting in solitude.


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## bdelykleon

Mirror Image said:


> You know what? I would LOVE to go to a concert where people actually respected the music and didn't speak or talk during a performance, but this is just something that I find very unnecessary.
> 
> Many weeks ago, the Atlanta Symphony Orchestra (cond: Robert Spano), performed Stravinsky's "Symphony of Psalms" and Mozart's "Requiem." I WOULD HAVE LOVED TO HAVE SEEN THAT!!!!
> 
> I have absolutely nothing against seeing a concert. I just think with the way people are, the price it costs for a ticket and just the overall hassle, really just keeps me from going.
> 
> I agree there's nothing like hearing it live, but there's absolutely nothing like hearing a great recording coming out of a great stereo and speakers sitting in solitude.


A good think in a concert hall is that I can meet friends and have a good conversation before and after the concert, it is a social event as well as a musical. And listening to music live is much better than music at home (obviously except if the performers are good), there are still so many things which can't be captured in the recordings...


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## bassClef

I read reviews of hi-fi equipment and know that you can spend tens or even hundreds of thousands ($ or £) on systems which they say "approaches" true realism - but it's still not quite there, it can never be. I know the satisfaction you can get from a great recorded performance, and the fact that it has no coughs and sneezes, but it's still a reproduction and therefore somewhat artificial and "sterile". I'd urge all classical fans to at least try a live concert - it's just a different experience, for some it's better and for others it's worse, but it has to be tried. I was tired when I went recently, after a hard day, but during the performance I just sat transfixed in awe - everyone around me melted away so I became unaware of them, it was just me and the performers and the music.


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## Mikey350D

I just attended an "Emerging Artist" recital.
While, they are not mature musicians, it was amazing to see how talented 12 y/o's can be.
The youngsters are truely gifted!

Regards


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## Aramis

I was excited about today's concert. Great pieces were about to play: Schumann's piano concerto and his "Spring" symphony. I've been back just some time ago, and I'm a little disappointed. The solist in piano concert was very young (25 years old) girl from France and I missed some feeling in her playing. A little bit clumsy. The symphony (conductor: Reinhard Seehafer) also was out of panache. 

Great concert anyway. They wasn't bad enough to blow such pieces of music.


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## emiellucifuge

Hi everyone, 
Here in amsterdam there is a summer festival in the Concertgebouw.

Ill be going to four concerts there:
1. Beethovnes Egmont Overture + Dvoraks 9th symphony + Saint-Saens 5th piano concerto
2. Abel 7th symphony, Mozart 41st, Bach Sinfonia in D, Mozart concerto for two pianos.
3. Beethoven violion concerto in D, Kodaly Concerto for orchestra, Dvorak 7th
4. Grieg Peer gynt, Mendelssohn Midsummer overture, Mussor/Ravel Pictures, Mozart clarinet concerto in A, Ravel Bolero and Tzigane.

Tomorrow im going to see Beethovens 9th

And in the past weeks i have seen ballets on music of Gershwin and an opera by Janacek.

Oh and a university orchestra from Edinburgh playing Borodin - IN the steppes.. , Copland - Fanfare, Sibelius 1st, and a number of choral works by Handel, BErnstein and lotti.


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## andruini

I just came back from seeing the OFUNAM conducted by Ronald Zollman.. It was an amazing concert.. They played Dukas' Sorcerer's Apprentice, Saint-Saëns' 2nd Piano Concerto (with Jean-Philippe Collard), Fauré's Pelléas et Mélisande, and Roussel's Bacchus et Ariane Suite No. 2..
The Dukas and the Fauré were both exremely good, and the Roussel was great as well, but there were a few parts where the complexity of the piece beat the orchestra, I think.. 
The Saint-Saëns was magnificent.. Collard was just brilliant.. Impeccable technique, great sound.. Couldn't have been better.. I got to meet him after the concert too, he's a really nice man, and he signed my Fauré Piano Music set! 
Overall, one of the best concerts I've seen in a while..


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## andruini

Went yesterday to see the Orquesta Sinfonica de Minería in their summer season under Carlos Miguel Prieto.. They're doing the whole Haydn and Mendelssohn thing.. They played Haydn's 88th Symphony, Mendelssohn's Violin Concerto with Philippe Quint (he also played Saint-Saëns' Introduction et Rondo Capriccioso as an encore), and John Adams' Harmonielehre.. The Haydn and Mendelssohn were great, but Harmonielehre really blew me away.. I was sitting right behind the percussion and the horns and when I got out of there, my ears were ringing as if I had just seen My Bloody Valentine.. It was quite something..


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## dmg

Just got back from seeing the following performances:

Fort Worth Symphony Orchestra, Miguel Harth-Bedoya conductor.

*Rafael Leonardo Junchaya: Varidanzas, homenaje a Béla Bartók*
*Sibelius: Violin Concerto in D minor, op. 47* - Midori, violin
*Brahms: Symphony No. 1 in C minor, op. 68*


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## Kevin Pearson

dmg said:


> Just got back from seeing the following performances:
> 
> Fort Worth Symphony Orchestra, Miguel Harth-Bedoya conductor.
> 
> *Rafael Leonardo Junchaya: Varidanzas, homenaje a Béla Bartók*
> *Sibelius: Violin Concerto in D minor, op. 47* - Midori, violin
> *Brahms: Symphony No. 1 in C minor, op. 68*


Just got back from this concert myself dmg! I thought Midori was wonderful. She gives of her whole self when she performs. I was really glad to have the opportunity to see her live. The Brahms was fabulous and Michael Shih's small violin solo was beautiful. The Junchaya was my least favorite of the evening but quite enjoyable none the less. I had never heard the Junchaya before and it was a very interesting piece. One I may have to see if it is available on CD.

They performed a small encore too but I didn't catch who the composer was. It was fantastic! Do you know what piece it was?

Kevin


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## Cortision

I went to a Concert of Dvorak's New World Symphony plus single movements of four other symphonies (Beethoven 6, 7 and 9 and Saint Saens 3). It was based on the 'Classic 100 Symphony countdown' which he have just had in Australia, so their was no programme given beforehand. The Orchestra was the Melbourne Symphony Orchestra conducted by Graham Abbot.

I have to say this live performance gave me an appreciation for the subtlety of Dvorak's orchestration. I'm not sure how well he compares to other composers - probably all first rank composers are pretty skillful when it comes to this. But seeing the double bases plucking away their own melody underneath what everyone else is doing, or watching a phrase being passed around the orchestra gave me an appreciation that I didn't get from hearing a CD. If I had better ears I might be able to pick out more details from a recording - I must learn - but hearing it live was magnificent.


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## dmg

Kevin Pearson said:


> Just got back from this concert myself dmg! I thought Midori was wonderful. She gives of her whole self when she performs. I was really glad to have the opportunity to see her live. The Brahms was fabulous and Michael Shih's small violin solo was beautiful. The Junchaya was my least favorite of the evening but quite enjoyable none the less. I had never heard the Junchaya before and it was a very interesting piece. One I may have to see if it is available on CD.
> 
> They performed a small encore too but I didn't catch who the composer was. It was fantastic! Do you know what piece it was?
> 
> Kevin


Midori was a machine. Everything was executed perfectly, and with so much passion. Loved the Brahms performance as well.

I've submitted the question to the FWSO about that last piece. I, too, couldn't remember the name of the composer or the piece. I thought he said you could purchase a CD of the piece at the Hall? I'm not sure...


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## colin

wish I had found this thread two weeks ago.

went to see the End Of Festival Fireworks Concert in Edinburgh, with the Scottish Chamber Orchestra performing. With the theme on Handel they played, Zadok the Priest, excerpts from Music for the Royal Fireworks, Arrival of the Queen of Sheba, and the Hallelujah Chorus all in time to the magnificently choreographed fireworks.

The whole centre of the City becomes a pedestrianised zone for the evening and loudspeakers relay the concert onto zones outside the cerntral gardens. What was spectacular for me was at the start of Zadok the Priest, Edinburgh Castle was lit in soft yellow flickering light, then when the choral part started the night sky was an explosion of white bursts, that I will never forget. I thouroughly enjoyed the whole of the concert though it only lasts for 45 minutes, but it is a free event every year. 
I recommend any body that is in Scotland near the end of August to note this concert in their diary.


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## jurianbai

just went to this concert last night :

http://music.nus.edu.sg/02a_event_bachtobach.html

Bach Orchestral Suite No. 2 in B minor, BWV 1067

Bach Double Violin Concerto in D minor, BWV 1043

Schubert Symphony No. 5 in B-flat major

the Symphony is done without a conductor.

it's a free event done by Singapore's very own Yong Siew Toh conservatory. i sit on second row from the stage, although the acoustic very good but mostly I only see the player's legs.


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## dmg

Kevin Pearson said:


> Just got back from this concert myself dmg! I thought Midori was wonderful. She gives of her whole self when she performs. I was really glad to have the opportunity to see her live. The Brahms was fabulous and Michael Shih's small violin solo was beautiful. The Junchaya was my least favorite of the evening but quite enjoyable none the less. I had never heard the Junchaya before and it was a very interesting piece. One I may have to see if it is available on CD.
> 
> They performed a small encore too but I didn't catch who the composer was. It was fantastic! Do you know what piece it was?
> 
> Kevin


I think you can find the piece on this CD, but I'm not sure:

http://www.filarmonika.com/cd_recordings/inti/

Do any composers mentioned below ring a bell?



> INTI
> Fort Worth Symphony Orchestra
> Miguel Harth-Bedoya, Conductor
> 
> With INTI, CAMINOS DEL INKA initiates an exploration of the symphonic music of Peru. The result of years of research through musical archives and collections, this CD is the first in a series that seeks not only to preserve the historic value of Peruvian symphonic music, but also to return it to life through live performances and recordings.
> 
> INTI is the name of the Sun in Quechua, the language of the Incas which is still in use today. In the times before the Spanish conquest, the sun represented life and the constancy of man. It was loved and venerated, because only under its influence was it possible to propagate and grow, to discover and illuminate a wondrous world of possibility. Accordingly, this CD is also INTI, in that it reveals to us a sonorous universe that has awakened after a long night.
> 
> The performance of the works of the great Peruvian composer Enrique Iturriaga on this album are part of a celebration of his 90th birthday. This recording of Sinfonía "Junín y Ayacucho: 1824" communicates not only the epic clamor of Peru's most important battle, that which sealed its independence from Spain, but also that special "electric" quality that only a live concert can convey. It is a fitting homage to one of South America's most important composers.
> 
> Probably one of the only ways to travel through time ― at least for now ― is through music. For the first time ever, more than three centuries of Peruvian music are gathered in one recording, including the work of important composers such as the Spanish cleric Baltasar Martínez y Compañón who, although not Peruvian by birth, adopted the country as his own; and that of young, Peruvian-American composer Gabriela Frank.
> 
> Composer Armando Guevara Ochoa has developed an extensive body of work whose style, inspired by the sounds of the Andes, imparts a vision of the Andean landscape and the history of its villages, with the wisdom inherent of the Inca culture.
> 
> Completing INTI, the presence of Jimmy López represents a new generation of Peruvian composers, with a work that has won awards for composition both in Europe and in the United States. Jimmy López is a young composer who, through his contemporary and fresh work, seeks to create a dynamic and innovative language that resonates in both the symphonic and popular musical worlds.
> 
> -Marino Martínez
> Cultural/Musical Researcher


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## Kevin Pearson

dmg said:


> I think you can find the piece on this CD, but I'm not sure:
> 
> http://www.filarmonika.com/cd_recordings/inti/
> 
> Do any composers mentioned below ring a bell?


I'm not sure but I'm assuming that this is the CD that was referred to. All I recall was that the piece they played was the second movement and I think he said it was "tento". I will probably purchase this CD as it sounds interesting anyway.

Kevin


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## dmg

Track 13 in the sample list to the left sounds very similar to me (called "techno"?). Does that one ring a bell with you?


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## Kevin Pearson

dmg said:


> Track 13 in the sample list to the left sounds very similar to me (called "techno"?). Does that one ring a bell with you?


That must be it! Thanks dmg!!! I'll order the CD now! 

Kevin


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## Lukecash12

Who among you folks have had the pleasure of attending a concert given by Richter?


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## Air

Lukecash12 said:


> Who among you folks have had the pleasure of attending a concert given by Richter?


This has been my dream ever since I breathed. (but only if it is one of his good days!)


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## Lukecash12

I was late to it, but I sat in the way back and listened to him play 2-3 Mozart sonatas and Bach's WTC book 1. Good times...

Edit: This was in Prague.


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## Padawan

I'm attending my first symphony _*ever*_ this Saturday. I just got the tickets today and I'm so excited I can hardly sit still!!!

OPENING NIGHT 2009-2010 Season

*Orlando Philharmonic Orchestra* presents "Ode to Joy"
Saturday, September 26, 2009 8:30 PM

*Brahms: *Variations on a Theme of Joseph Haydn, op. 56a
*Beethoven:* Symphony No. 9, op. 125, D minor (Choral)

Christopher Wilkins, conductor
The Opera Chorus
The Orlando Chorale
University of Central Florida Chorus
Stella Zambalis, soprano
Susan Platts, mezzo-soprano
Yeghishe Manucharyan, tenor
Peter Van de Graaff, bass

At the Bob Carr Performing Arts Centre in Orlando, Florida


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## Tapkaara

Padawan said:


> I'm attending my first symphony _*ever*_ this Saturday. I just got the tickets today and I'm so excited I can hardly sit still!!!


First ever? Wow, you must be excited. I have to ask, though: are you new to classical music? In other words, if this is your first concert, I imagine you must be...

What a first concert to see! Beethoven's 9th will astound you, I'm sure. It will leave you begging for more. Concerts are addicting!


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## Padawan

Tapkaara said:


> First ever? Wow, you must be excited. I have to ask, though: are you new to classical music? In other words, if this is your first concert, I imagine you must be...


Yes, I became a fan of classical music just three months ago and I'm quite obsessed. I was so determined to get tickets, when they wouldn't answer their phone, I drove there! Our tickets have the same seat number, one row behind the other, but I don't care.



> What a first concert to see! Beethoven's 9th will astound you, I'm sure. It will leave you begging for more. Concerts are addicting!


I believe you. I've attended one opera and a couple of ballets and there is nothing like a live performance. I plan to attend the other four concerts in this series and maybe one of the three chamber concert series.


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## Padawan

> Orlando Philharmonic Orchestra presents "Ode to Joy"
> Saturday, September 26, 2009 8:30 PM
> 
> Brahms: Variations on a Theme of Joseph Haydn, op. 56a
> Beethoven: Symphony No. 9, op. 125, D minor (Choral)


I just back from seeing this concert and, no slight to Brahms, but Beethoven's 9th symphony was *unbelievable*. I admit to only having heard mere snippets so I had no idea or preconceived notions about what I was hear - *WOW!*. It was fabulous, mysterious yet familiar. Dare I say it; some parts reminded me of Mozart. The twists and turns were dazzling, even puzzling. Unfortunately, since the show was "sold out", my seat was in the second row and the stage was 3 feet high, so I couldn't always see who was playing, but I could hear everything just fine.

Just listening to this was exhilarating, yet exhausting. Imagine how the musicians felt. Towards the end, the bass players were whip-sawing back and forth. In addition to the 4 soloists, there were 230 voices from three choirs.

Sorry for rambling, but being that it was my first concert, I'm had to share.


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## Isola

Glad you enjoyed it! I'm sure it's not going to be the last time. 

I'm looking forward to December when I'm going to London to see Royal Concertgebouw Orchestra / Jansons' Brahms Symphony No.4 and - be jealous, be _very _jealous - Mahler Symphony No. 2!


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## MrTortoise

Lukecash12 said:


> I was late to it, but I sat in the way back and listened to him play 2-3 Mozart sonatas and Bach's WTC book 1. Good times...
> 
> Edit: This was in Prague.


I am jealous! One of my favorite pianists. My first recording of Rachmonioff 2 was Richter and it still rings in my ear every time I hear the work.


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## MrTortoise

Padawan said:


> *WOW!*. It was fabulous, mysterious yet familiar. Dare I say it; some parts reminded me of Mozart.
> 
> Sorry for rambling, but being that it was my first concert, I'm had to share.


ah, your post brought a broad grin to my face


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## Padawan

Isola said:


> I'm going to London to see Royal Concertgebouw Orchestra / Jansons' Brahms Symphony No.4 and - be jealous, be _very _jealous - Mahler Symphony No. 2!


I am. I've never been to London.



MrTortoise said:


> ah, your post brought a broad grin to my face


 I'm still grinning like an idiot myself and it is morning already!


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## Padawan

Tonight I went to the Bob Carr Performing Arts Centre in Orlando, Florida to see my second symphony ever.

"Russian Masters"

*Rachmaninoff:* Vocalise

*Rachmaninoff:* Piano Concert No. 2

*Shostakovich:* Symphony No. 5

*Magnificent!*

I was familiar with Rachmaninoff but not Shostakovich, what a treat!


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## Lukecash12

Than it's great that you were acquainted with him via a concert.

Great music venue you went to. That's one of my favorite centres. Played some Bach and Tchaikovsky over there a few times...


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## Padawan

It's a nice, intimate setting but I was surprised it wasn't miked.


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## bassClef

Lukecash12 said:


> I was late to it, but I sat in the way back and listened to him play 2-3 Mozart sonatas and Bach's WTC book 1. Good times...
> 
> Edit: This was in Prague.


I'm in Prague - where did you go?


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## pavel0622

In my country,going to concert mean the one have very good educational background or have much money.
It's not easy for everybody to go to a concert.


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## Sid James

*Australian Chamber Orchestra, "Beethoven 4"*
Dejan Lazic, piano/Richard Tognetti, director
(Sydney Opera House, Nov. 22)

*Dean* - Testament
*Beethoven* - Piano Concerto No. 4; Symphony No. 4

I really enjoyed this concert. The highlights for me were the new piece by Australian composer Brett Dean, and Beethoven's _Piano Concerto No. 4_. The Dean piece was about Beethoven's struggle with deafness, and the composer tried to put this across with bows (almost) noiselessly moving across strings and wind instruments being blown with barely a sound coming out.

It was interesting to hear the Beethoven pieces played by smaller forces, as I am familiar with the works from recordings made by full symphony orchestras. The _Piano Concerto No. 4_ was particularly well done, with the soloist Dejan Lazic playing quite delicately to match the smaller sound of the chamber orchestra. The only thing I didn't like were his own cadenzas, which sounded like Brahms, and wholly out of place in a Beethoven concerto. But the audience loved him, and he played an encore by Chopin. The _Symphony No. 4_ was also well done, I especially liked the brisk tempos of the final movement. All in all, this was a very enjoyable concert.


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## Air

Andre said:


> *Australian Chamber Orchestra, "Beethoven 4"*
> Dejan Lazic, piano/Richard Tognetti, director
> (Sydney Opera House, Nov. 22)
> 
> *Dean* - Testament
> *Beethoven* - Piano Concerto No. 4; Symphony No. 4
> 
> I really enjoyed this concert. The highlights for me were the new piece by Australian composer Brett Dean, and Beethoven's _Piano Concerto No. 4_. The Dean piece was about Beethoven's struggle with deafness, and the composer tried to put this across with bows (almost) noiselessly moving across strings and wind instruments being blown with barely a sound coming out.
> 
> It was interesting to hear the Beethoven pieces played by smaller forces, as I am familiar with the works from recordings made by full symphony orchestras. The _Piano Concerto No. 4_ was particularly well done, with the soloist Dejan Lazic playing quite delicately to match the smaller sound of the chamber orchestra. The only thing I didn't like were his own cadenzas, which sounded like Brahms, and wholly out of place in a Beethoven concerto. But the audience loved him, and he played an encore by Chopin. The _Symphony No. 4_ was also well done, I especially liked the brisk tempos of the final movement. All in all, this was a very enjoyable concert.


Hi Andre 

Nice to hear that the Dean / Beethoven Concert went well for you.


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## Sid James

Air said:


> Hi Andre
> 
> Nice to hear that the Dean / Beethoven Concert went well for you.


Yeah, it was superb, & I plan to go to some of the ACO's concerts next year. They're a great ensemble. I think you being a piano afficionado would have loved the Beethoven _Piano Concerto No. 4_, Lazic really bought the house down with his performance...


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## Air

Andre said:


> Yeah, it was superb, & I plan to go to some of the ACO's concerts next year. They're a great ensemble. I think you being a piano afficionado would have loved the Beethoven _Piano Concerto No. 4_, Lazic really bought the house down with his performance...




Yeah, maybe if it was Backhaus raised from the dead...


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## ladyrebecca

Tonight, I heard Joshua Bell's performance of the Brahms with the Boston Symphony Orchestra. They also did Stravinsky's Firebird Suite from 1945 and Debussy's Prélude à l'Après-midi d'un faune.


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## colin

Went to The Queens Hall in Edinburgh to see Meadows Chamber Orchestra perform 

Bach Brandenburg Concerto No3 inG
Stravinsky Concerto in D for string orchestra
Bach Violin Concerto in A minor
Bach Brandenburg Concerto No1 in F
Stravinsky Concertino for 12 instruments
Bach Violin Concerto in E

The latter two being my favourites of the night. 
Alexander Janiczek was violin soloist and played the on loan 1716 `Baron Oppenheim' Stradivarius it really was a special evening.


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## pradoswank

pavel0622 said:


> In my country,going to concert mean the one have very good educational background or have much money.
> It's not easy for everybody to go to a concert.


Really? I've been to Beijing and Shanghai for several times. In which region are you?
===========================================================


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## Padawan

I was lucky enough to obtain tickets to see *Itzhak Perlman *perform tonight at the *Bob Carr Performing Arts Centre in Orlando, Florida.* It had been sold out since early September and I was on the waiting list all that time.

Itzhak Perlman, violin
Christopher Wilkins, conductor

Sunday, January 10, 2010 at 4:00 pm

*Carl Maria von Weber:* Ruler of the Spirits, J.109, op. 26, E-flat major 
*Beethoven:* Violin Concerto, op.61, D major 
*Schubert:* Symphony No. 9 D. 944 in C major, The Great C major

_It was an amazing experience!_


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## ConcertVienna

My latest concert was the Silvester Gala at the Vienna Kursalon. 
The Alt Wien orchestra performed the best of Strauss and some famous Mozart pieces. Of course it was not a performance you can compare to the New Year's concert of the philcharmonics in the Musikverein, but it was the 31. December, very festive, very good mood, great venue - typical Vienna. After the concert there was a gourmet dinner, and afterwards we watched the fireworks from the terrace of the palace.


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## PoliteNewYorker

I saw the Philharmonic on Thursday playing:

*Haydn* - Symphony no. 49
*Adams* The Wound Dresser (Sung wonderfully by Thomas Hampson) 
*Schubert* Symphony no. 8 in B Minor, "Unfinished"
*Berg*- Three Pieces for Orchestra.

The most impressive, I thought, was the Berg. Gilbert really made that orchestra roar. A great piece, and under appreciated. Gilbert impresses me more and more as a conductor, I think if you give him a couple years he'll be a big name internationally. He just has to make some good recordings.


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## tenor02

just saw, last night, Mahler 10 and Shostakovich 11.

freaking GREAT! not so high on the mahler, but the shostakovich....ohhh, it was great.


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## World Violist

Last night I went to see Paavo Jarvi and the Cincinnati Symphony play Liszt's first piano concerto Bruckner's 8th symphony. I wasn't terribly impressed by the Liszt. I mean, it was very well-played and stuff, but it left me cold.

But the Bruckner was seriously something. It was easily one of the most moving concert experiences in my life so far. The first two movements were brisk and exciting, the last two not lasting overlong and yet still just as impactful as they need to be. It was a truly great concert. The brass, so crucial to Bruckner, were never blaring, yet always just as loud as needed, and always as awe-inspiring as needed in this composer.


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## Air

World Violist said:


> Last night I went to see Paavo Jarvi and the Cincinnati Symphony play Liszt's first piano concerto Bruckner's 8th symphony. I wasn't terribly impressed by the Liszt. I mean, it was very well-played and stuff, but it left me cold.


Who was the pianist? I know only about 3 pianists (alive and not alive) who can pull off that piece so that I actually like it, and when they do I _really_ like it.

The Bruckner must have been something though. Paavo Jarvi...Cincinnati...lucky you.


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## ladyrebecca

The BSO have been busy with a bunch of concerts since I last posted here. Most recently have been:

MacMillan's St John's Passion
Nikolaj Znaider performing Elgar
Yo-Yo Ma performing Haydn

Not a bad way to start 2010!


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## bassClef

World Violist said:


> Last night I went to see Paavo Jarvi and the Cincinnati Symphony play Liszt's first piano concerto Bruckner's 8th symphony. I wasn't terribly impressed by the Liszt. I mean, it was very well-played and stuff, but it left me cold.
> 
> But the Bruckner was seriously something. It was easily one of the most moving concert experiences in my life so far. The first two movements were brisk and exciting, the last two not lasting overlong and yet still just as impactful as they need to be. It was a truly great concert. The brass, so crucial to Bruckner, were never blaring, yet always just as loud as needed, and always as awe-inspiring as needed in this composer.


I intend to see some Bruckner symphony live myself - must be quite an experience. As an ex brass player, it's another of those experiences in my "must do before you die" list - I'm just waiting for a local performance of his 3rd, 4th or 9th and I'm there!


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## Polednice

I just got back from a concert featuring Emma Johnson (Clarinet) and Pascal Rogé (Piano):

*Weber* Silvania Variations
*Debussy* Première Rhapsodie
*Brahms* Clarinet Sonata No. 1 (YAY!)

*Bernstein* Sonata
*Stravinsky* 3 Solo Pieces
*Debussy* La Cathédrale engloutie
*Copland* Nocturne
*Milhaud* Scaramouche

Plus Debussy and Benny Goodman for an encore!

The playing was fantastic and, unsurprisingly, I was in love with the Brahms before I entered the concert hall, but I thought that this was one of the best organised concert programmes I have ever had the pleasure to hear. The sheer breadth and variation involved was wonderful, and it highlighted the virtuosity of the performers equally. Plus, being a die-hard Romantic, there were a number of pieces I hadn't heard before - always a novel experience - and, even though I still have no desire to listen to Stravinsky, it made me want to explore Debussy more.


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## World Violist

Sorry I haven't been back to this thread lately. Didn't realize I had responses.



Air said:


> Who was the pianist? I know only about 3 pianists (alive and not alive) who can pull off that piece so that I actually like it, and when they do I _really_ like it.
> 
> The Bruckner must have been something though. Paavo Jarvi...Cincinnati...lucky you.


The pianist was Alice Sara Ott. She's got a CD out on DG of the Chopin waltzes if you want to hear what she's like. As far as musicians go she seemed the typical, polite, overall not terribly deep or risky musician. But she supplied the glitter, so there it is...



bassClef said:


> I intend to see some Bruckner symphony live myself - must be quite an experience. As an ex brass player, it's another of those experiences in my "must do before you die" list - I'm just waiting for a local performance of his 3rd, 4th or 9th and I'm there!


Yeah, seeing Bruckner 8 was practically a religious experience for me. Right afterward I saw someone in the stands who was in tears, and thought, "That's what a great Bruckner concert needs to be. Shattering." And so it was. I do consider myself very lucky to have been there. My only regret is that I could not have seen James Conlon conducting Mahler's 8th in Cincinnati last May. From what I've heard it was a blazing performance!


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## Air

World Violist said:


> The pianist was Alice Sara Ott. She's got a CD out on DG of the Chopin waltzes if you want to hear what she's like. As far as musicians go she seemed the typical, polite, overall not terribly deep or risky musician. But she supplied the glitter, so there it is...


WV, I looked her up... and apparently the concert you went to was her American Debut! I wasn't sure if you were aware of this...


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## World Violist

Air said:


> WV, I looked her up... and apparently the concert you went to was her American Debut! I wasn't sure if you were aware of this...


Oh wow! I was not at all aware! That's pretty cool then.


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## Polednice

I just got back from a performance by the City of Birmingham Symphony Orchestra conducted by Andris Nelsons.

*Mussorgsky* Night on a Bare Mountain
*Shostakovich* Violin Concerto No. 1 (Baiba Skride)

*Tchaikovsky* Symphony No. 5

And wow, what a performance! The CBSO is definitely one of the UK's finest orchestras, certainly after Sir Simon Rattle's heading of the ensemble (though I don't know much about its history before him). It was slightly difficult to get passed the cheese-factor of the first piece, but it worked really well. Particularly because my local 'concert hall' (the Sheldonian Theatre) is relatively small, right from the beginning the sound was almost _too_ overwhelming. Very dramatic!

The highlight of the night for me has to be the Shostakovich. I have to admit that I've only listened to Shostakovich in short bursts and haven't really got into him yet. I own all of his concertos for various instruments, but through my various listens, I never really appreciated him. _This_ performance changed that. Now, I don't know what a perfect-sounding Violin Concerto No. 1 would sound like because I'm not familiar enough with the piece, but I would imagine that this performance was pretty damn close. The brooding first movement set up a fantastic atmosphere - what I would call 'grotesque' (using its definition that does not mean 'ugly'). It was indescribable, and it was superbly carried through into that marvellous Scherzo. Skride was an _amazing_ soloist and her playing - especially her long solo/cadenza in the third movement - showed me exactly what this music is supposed to mean and how it is supposed to be played. Brilliant!

Tchaikovsky's symphony is something no doubt most of us have heard - it wasn't quite as striking as it might have been because I've listened to it so much and I went to a concert featuring it not so long ago. However, given that I didn't much like the other performance I saw, and also because the Sheldonian has that intimate size and therefore sound-in-your-face acoustic, it was thrilling in its climaxes. If the CBSO is in town, definitely go!


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## emiellucifuge

Last weekend was somewhat amazing for me:

Friday evening the Concertgebouw Orchestra and Mariss Jansons performed Rachmaninov's 2nd Symphony and the Sibelius Violin Concerto, with Janine Jansen.

Then the following evening, the Orchestra of the Mariinski Theater was on tour with Gergiev and they performed Shostakovich's first Symphony, Tchaikovsky 5th and Mussorgsky Night on the Bare Mountain. Both were spectacular.


Looking forward to Prokofievs 2nd Piano concerto with Pletnev conducting the RCO in May...


(The second program seems remarkably similar to Polednice's post above)


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## Polednice

emiellucifuge said:


> Then the following evening, the Orchestra of the Mariinski Theater was on tour with Gergiev and they performed Shostakovich's first Symphony, Tchaikovsky 5th and Mussorgsky Night on the Bare Mountain. Both were spectacular.


It's a shame we can't compare


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## tenor02

im really stoked for today...my school has an annual concerto competition and this year three of my friends won the competition! First up is the Sibelius violin concerto, followed by Tchaikovsky violin, and then John Adam's Gnarly Buttons for clarinet.

really excited.


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## andruini

tenor02 said:


> John Adam's Gnarly Buttons for clarinet.


Now, THAT is fun! Awesome clarinet writing and cow sounds? Doesn't get much better than that!


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## tenor02

andruini said:


> Now, THAT is fun! Awesome clarinet writing and cow sounds? Doesn't get much better than that!


yeah, im really excited about it. just got back a few min ago from NATSAA state competition (vocal competition) about an hour ago...heard some GREAT music.


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## jurianbai

Not exactly a classic concert but I just back from a pre Chinese New Year recital this afternoon. FYI, Chinese New Year is next week (!)

There were two girls who take turn demonstrated a solo pieces for DIZI and Xiao. Dizi is the transverse flute and xiao is the long flute. Also one male player who play an Erhu and Banhu. At the one they also play a duet for Erhu and Dizi . All pieces played in such a virtuosic and I really longing to see these Chinese instrument can attracted more western attention.


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## Aramis

Today I had pleasure to listen to Tchaikovsky's 1st piano concerto and 3rd symphony live. Nikolai Dyadiura was conducting, and the concerto was performed by Stanisław Drzewiecki, quite young fellow. 

The symphony was performed really good, I know it very well, mostly Haitink's performance. Theme from first movement surprised me with it's legato character (most conductors are playing it completely diffrent). Too bad there was bad balance between strings and brasses, it almost ruined the finales from both first and last movements.


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## Sid James

Today I saw Australian pianist *Kathryn Selby* & her associates perform Schubert's _Trout Quintet_ at the City Recital Hall in Sydney. It was great seeing this work done live, in an intimate setting. The musicians also talked about the work before the concert, and a singer also performed the original song upon which the work was based (accompanied by Selby). I didn't notice how active the double bassist was when only listening to the work on a recording, as well as how much repetition of melodies was in each movement, which reminded me of Bruckner a bit (& maybe also minimalism?). All up this was a very enjoyable lunchtime concert. To those in Sydney this series is monthly and only costs $10. A bargain...


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## Sid James

Again, I went to another concert with Australian pianist *Kathryn Selby *with her *"Trioz," *with Nikki Vasilakis (violin) & Emma Jane Murphy (cello). I really liked the intimacy of the venue, a church in Sydney's northern suburbs (Turramurra). The program consited of Liszt's _Orpheus_ (arr. Saint-Saens), Bloch's _Three Nocturnes_, Arensky's _Piano Trio_ & Schubert's _Piano Trio No. 1_. Again, the playing was excellent (actually moved me quite alot) & the atmosphere very informal, even with cake in the interval made by Selby's family...


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## Ivan_cro

This Sunday Cecillia Bartoli had a concert in Lisinski concert hall, here in Zagreb.
It was so fantastic!I'm stunned!
She has such a strong, beautiful voice.Not only she sings so nice, she also acts and dances on the stage 

Here you can see what she sang: http://www.lisinski.hr/priredba.asp?b=3568


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## Sid James

I just went to a live performance here in Sydney on the weekend, the Woollahra Philharmonic Orchestra. They played Rossini (Barber of Seville Overture); Mozart (Piano Concerto No. 22) & Berlioz (Symphonie Fantastique). Pretty awesome, especially the latter, I was glad I saw it live (my first time), since I have missed it played by other groups on various occassions. Spectacular!


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## Sid James

I've just been to a live performance here in Sydney of *Mozart's Great Mass in C minor.* The Sydney University Musical Society, directed by Gregory Platt. It was a very light, upbeat and happy interpretation. Very "galante" and Italian. The only "dark" section was the _qui tollis_. The rest was joyous, charming, even playful. Mozart with an Aussie feel, perhaps. The conducting/playing had a light touch of rubato, reminiscent of some of Bernstein's work. I kind of felt that I was at a cafe near the beach, with the sun, crowds in summer. This was a performance exuding warmth, calmness and serenity. Perhaps less "intense" than the recordings I've heard of Karajan (or Blomstedt with a Japanese ensemble on youtube). Reminiscent of Davis' classic 1971 recording, but way way lighter than that. The venue, Sydney University's Great Hall, was perfect and the acoustic pretty good. It was with a chamber-sized orchestra and a 100 strong choir. I really liked the sections where only the soloist singers were singing with the orchestra (no choir), the _quoniam_ and _et__ incarnatus est_. The delicate filigreed counterpoint between the ensemble and singers was so light an airy. This was a fascinating performance, exactly because it contrasted sharply with what I've heard on record. What it lacked in drama, it made up in spades in joy de vivre! Excellent. I also got one of their cd's in the foyer, Bruckner's motets & Te Deum. It will be interesting listening to that...


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## Sid James

Been to two good concerts here in Sydney the past week:

*Selby & Friends "A Little Lunch Music"*
Kathryn Selby (piano), Dimity Hall (violin), Irina Morzova (viola), Julian Smiles (cello)
Schumann: Piano Quartet (1842)

An interesting concert where the musicians talked about the work in detail, and gave demonstrations, before playing it right through. Interesting to learn that Schumann (like Bach before him), tuned the cello down a few notes (but only in the third slow movement). The strings were more dominant in this performance than the piano, this gave it a real intimate (as versus symphonic) feel.

*Coro Innominata of Sydney* - "Live at the Mosman Music Club"
Sandy Glass, musical director
Schutz: Jauchzet dem Herrn; Monteverdi: Laudate Pueri; Lauda Jerusalem; Whitacre: Lux Aurumque; Nox Aurumque; Lauridsen: Lux Aeterna.

A very eclectic program, and one of the most enjoyable of all concerts I've had the good fortune to attend. Sandy Glass talked about the works (even reading some of the translations, as they were not in the program), before performing them. I liked the whole program, but Whitacre's music (which I had not heard before) really grabbed me. It had this harmonic density and compactness/tightness which was really affective. It was also interesting to see the different formations of the choir, eg. in the Schutz they were split up into two, a smaller sextet contrasting with the rest of the choir. A great ensemble, who I hadn't heard of before, I will have to get a cd or two of theirs, and definitely go to more of their concerts.


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## World Violist

Yesterday afternoon I went to see one of my friend's senior recitals... and mine is TODAY! I'm very happy. But it's still some seven whole hours away, which I don't really like all that much. Let's see, what am I doing again...

Kalivoda: Nocturne No. 4
Sibelius: Se’n har jag ej frågat mera, Op.17 No.1 (played on viola)
Rózsa: Introduction and Allegro, Op.44
Clarke: Passsacaglia on an Old English Tune
-
Bridge: Lament for two violas, H.101
Pärt: Spiegel im Spiegel
Enescu: Concertpiece

It's going to be fun


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## elfish

Hi Andre

Thanks for all the reviews of concerts in Sydney - I will certainly look out for what is happening in future.

Elfish


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## Sid James

Hi elfish, a radio program I listen to on 2mbs-fm 102.5 "What's on in Sydney" is broadcast 8.30-9.30 am every Saturday. (www.2mbs.com)

This weekend just gone by:

*Metropolitan Chamber Orchestra*
Sarah Grace Williams, conductor
Susan Collins, violin
Beethoven: Egmont Overture; Brahms: Violin Concerto; Schubert: Symphony No.4 "Tragic"
At Balmain Town Hall, Sydney

*East Sydney Chamber Orchestra & Choir*
with soloists/George Ellis, conductor
Beethoven: Symphony No. 9 "Choral"
At St. Joseph's College Chapel, Hunter's Hill, Sydney
In aid of charities supporting schools in Bouganville, Papua New Guinea

These were excellent, the venues very intimate. First time I saw these works live. Both conductors made the music flow beautifully, and I think both ensembles were very fine. They were enlarged by extra musicians for the Brahms & Beethoven symphony. One doesn't realise quite how dissonant these works can sound if you just listen to recordings. The crescendos seen live just make such a huge impact on me. My friend & I both enjoyed these concerts & will be going back for more, no doubt (the MCO was packed to the rafters, lucky we pre-booked). We also enjoyed a brief conversation & glass of bubbly with the musicians after the MCO concert...


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## Sid James

Seen here in Sydney this weekend:

*Kammer Ensemble *(New Music Network series @ Sydney Conservatorium)
With Stephanie McCallum (piano) & John Lewis (clarinet)
Daniel Rojas - Danzas Amorosas (World premiere of Octet version)
Osvaldo Golijov - The Dreams and Prayers of Isaac the Blind; Lullaby and Doina
George Crumb - Vox Balanae

This was one of the best concerts I've been to so far. The level of professionalism of the musicians was apparent, even to someone quite non-musical like me. The venue was small and intimate. I can't really choose which piece I liked the most. The Rojas was a lively tango. Clarinettist John Lewis was brilliant in the first Golijov work, scored for different types of clarinets and string quartet. It had a markedly Jewish, klezmer feel, whereas the second Golijov work was much like gypsy music. & Crumb's Voice of the Whale was fascinating to see, from the use of the prepared piano, plucking the piano strings like a harp, and also the performers whistling whalesong. I agree that this is a hauntingly beautiful work. I must go to more of this excellent series. Highly recommended for those here in Sydney (or visiting?).

*Woollahra Philharmonic Orchestra*
Cristian Cimei, conductor
Weber - Overture to Der Freischutz; Barber - Knoxville: Summer of 1915 (with Australian Opera's soprano Teresa La Rocca); Ravel - Pavane pour une enfante defunte; Dvorak - Symphony No. 5 in F Op. 76

I think that the Weber, Barber & Ravel were the strongest performances here. Teresa La Rocca's singing moved me quite a bit. In my humble opinion, the Dvorak 5th was a bit patchy, I think that the string section was a bit struggling with those quick phrases, but I'm no expert, so maybe I shouldn't judge. But in any case, I really enjoyed the first half. & to their credit, at least the orchestra didn't trundle out yet another tired warhorse like Dvorak's _New World Sympho_ny, it was good to hear a more obscure one...


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## bassClef

Saw tonight:

MAHLER'S RESURRECTION SYMPHONY
Czech Philharmonic Orchestra, Brno Philharmonic Choir
soprano Simona Houda Šaturová
alto Yvonne Naef
conductor Christoph Eschenbach
Prague Rudolfinum

This is a piece I know very well and am quite sensitive to interpretation, and I must say this performance was nigh on perfect. Raw power mixed with delicate finesse - bravo! I'm still tingling. Epic.


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## Sid James

*Concert Reviews*

I can't find the "Latest Concerts" thread, so I thought I'd create this one. A thread where you can post upcoming concerts & your own reviews of them...


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## Sid James

A concert I just went to on the weekend:

The Bourbaki Ensemble

Conductor: David Angell

Soloist: Ken Burnett, clarinet



A free concert hosted by Macquarie University as part of the Music on Winter Sundays series.
Bourbaki Ensemble

The Bourbaki Ensemble is a chamber string orchestra based in Newtown, Sydney. Their aim is to perform works from the string orchestra repertoire.

The Bourbaki winter program highlights two of the great works of the English string repertoire, and also includes a variety of Australian compositions as well as continuing to feature a work by Charles Ives, the Ensemble's composer of the year.

PROGRAM

Ralph Vaughan Williams: Fantasia on a Theme by Thomas Tallis

Gustav Holst: St. Paul's Suite

Andrew Ford: Oma Kodu for clarinet and string orchestra (Ken Burnett, clarinet)

Wayne Dixon: Mermaids

Charles Ives: Hymn

Richard Willgoss: General Bourbaki Rings the Changes

Chris Williams: Altjiranga Mitjina

Review:

I really enjoyed this concert. 3 of the composers were there for the premieres of their works. Wayne Dixon's mermaids could sometimes be enticing, but there was also a dark side. There were shades of Berg & Richard Strauss there. Richard Willgoss' piece incuded an interesting difference: the vioinists left the stage & played around the audience - the sound was amazing. This piece had the rhythms and sequences of bells ringing their changes. Andrew Ford's piece was based on an Estonian folk song, and had this earthy European feel. It reminded me a bit of Golijov's clarinet quintet, which I saw in concert a few weeks back (but that had a Jewish feel). The Ives was an amazing piece, lasting only 3 minutes. Chris Williams' piece sounded a bit like another Australian minimalist, Ross Edwards (but even more minimalistic?). The two English composers were served well too, the Holst played very vigorously, and the Vaughan Williams was quite spiritual ("the best piece for string orchestra" as David Angell, the conductor, said). All up, an excellent program, and I will definitely go to more of their concerts in the future (they have been around in Sydney for about 10 years, but I had never heard of them before this). I think they can easily give the Australian Chamber Orchestra or Metropolitan Chamber Orchestra a run for their money (although those are excellent ensembles as well), for one - they play more contemporary repertoire by living composers.


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## Aramis

> I can't find the "Latest Concerts" thread


Yeah, it seem to be gone.

WHO DELETED BY SWEET, INNOCENT THREAD?

WICKED STAFF I KNEW THEY WILL DISCRIMINATE ME FOR BEING HETEROSEXUAL


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## Krummhorn

Andre said:


> I can't find the "Latest Concerts" thread, so I thought I'd create this one. A thread where you can post upcoming concerts & your own reviews of them...





Aramis said:


> Yeah, it seem to be gone.


Sorry about that ... it was being infested by spammers and had to be temporarily taken "offline".

This scenario happens occasionally to random threads ... sorry for the inconvenience. 
It's back now, everything's there as it was.

Damn the spammers :angry:!!


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## HarpsichordConcerto

Andre said:


> A free concert hosted by Macquarie University as part of the Music on Winter Sundays series.


Next time there is a free classical concert in this city, please PM me about it if that's not too much trouble!  I might want to go. You seem to know more about what's going on regarding these events.


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## Sid James

I just went to a concert on the weekend here in Sydney, which was a tribute to *Ken Tribe*, who died a few weeks ago (he was 96). This guy was one of the main behind the scenes people who brought things like Musica Viva to Australia (& secured government funding, etc. to many groups) in the early days following World War Two. He was a lawyer by profession but was really passionate about classical music. He didn't want a funeral, but a free concert like this, to celebrate & showcase the kind of talents that he spent most of his life supporting.

http://www.musicaviva.com.au/concertseason/kentribe

This was a great tribute to a man I didn't know that much about. The host was Australian composer & director of Musica Viva Australia Carl Vine. Ken Tribe's family & friends payed tribute to him, as did NSW Governor Marie Bashir. Some of his favourite ensembles played music, such as the Australia Ensemble, Pinchgut Opera, Gondwana Choir, the Selby piano trio, and the Goldner String Quartet. Some of the composers featured were locals Peter Sculthorpe, Lyn Williams, Ross Edwards and also classics like Purcell, Beethoven, Dvorak and Mozart. I enjoyed this tribute and I feel Australian classical music is and has been made the much richer by dedicated behind the scenes people like Tribe, who are not interested in the spotlight, but actually getting things done, and supporting, nurturing and enlivening the classical music scene and culture across this country.


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## Sid James

Before the Ken Tribe tribute, I went to an organ recital at St. Stephen's Anglican Church, Willoughby. The organist was *Jean-Baptiste Monnot*, professor at the Paris Conservatoire (he's only 26). I'm beginning to enjoy organ music, and I enjoyed the program (I would have liked some French works as well, but it was still very good). I was really surprised how much like Bach the Mozart sounded.

J.S. Bach - Prelude and Fugue in A Minor
R. Schumann - Four Sketches
W.A. Mozart (trans. Jean Guillou) - Adagio and Fugue KV 546


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## Sid James

I just went to a free lecture & recital at Sydney Conservatorium of Music:

http://www.usyd.edu.au/news/music/784.html?eventcategoryid=71&eventid=5213

Dr Martin Jarvis, an expert in musical manuscript forensics argued that J.S. Bach's second wife, Anna Magdalena, was much more than a mere copyist. By showing and discussing samples of the original manuscripts, and demonstrating what techniques are used in his science, he argued that J.S. Bach's Cello Suites were most likely composed by his wife, not him. I didn't even know that this area of scientific research existed, so I learned a lot from this lecture. After the lecture, the audience enjoyed a performance of the first two cello suites by Korean-Australian cellist Minah Choe, who is currently doing her doctorate at the Con. This was part of the Alfred Hook lecture series, and I can recommend anyone in Sydney to attend these - there are ones coming up by Roy Howat, Peter Sculthorpe and Andrew Ford. Just check the con's website for details...


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## Sid James

Here in Sydney on Sunday:

Sydney Youth Philharmonic Orchestra
Conductor: Brian Buggy OAM
@ Blessed Sacrament Church, Mosman

Wagner - Prelude: Die Meistersinger von Nurnberg
Tchaikovsky - "Sleeping Beauty" Ballet Suite Op. 66a
Buggy - Nursery Rhyme arrangements
Buggy - Suite for Strings
Tchaikovsky - Symphony No. 2 in C minor, Op. 17 "Little Russian"
(Encore) J. Williams - "Indiana Jones" Film Suite

This was a good program, and some of it was just really fun. I think the classics were interpreted and played very energetically and vigorously. Conductor Brian Buggy's suite was also interesting, it reminded me a bit of Vaughan Williams or Villa-Lobos in string mode. It was great for me to hear the "Little Russian" after not hearing it for 10 years. & the "Indiana Jones" was a nice finale. We have about 9 youth orchestras here in Sydney, and with their dedication & conductors as good as Buggy, they play to a very high standard (& I think their programs are more interesting, too)...


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## JSK

Just saw Tristan and Isolde in Seattle. I have extremely mixed opinions of the performance and the opera itself. I loved it for the first 2 acts and then got a little bored. The opera could've been a good hour or two shorter considering its material perhaps, but I think I was distracted by my hunger and tiredness after sitting at McCaw Hall for 5 hours soon after a 5 hour car ride.

Got an AMAZING seat though, and the orchestra was fabulous 99% of the time!


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## Sid James

Last night @ Sydney Conservatorium of Music:

Cocktail Hour Recital Series
*"French Violin"*
Goetz Richter, violin
Jeanell Carrigan, piano

C. Franck - Sonata in A Major
M. Ravel - Sonata in A Minor (Sonate Posthume)
C. Debussy - Sonata in G minor

As violinist Goetz Richter pointed out, Franck was only nominally French, but he lived most of his life there. Both performers are on the teaching staff of the Conservatorium. I liked how Richter had this very energetic and passionate style - I know nothing about violin playing, but I could tell from his body movements that he was very involved (& their interpretation, of course). So maybe that's why I liked this rendering of the Franck, as (at times) in the past, I have felt his music to be a little too sombre and dark - but here he sounded lighter and more animated. The Ravel was an early work, from the 1890's when he was still in the grip of his teacher Faure's style, and I was a little annoyed with the repetition of the single theme (it was in one movement). I really enjoyed the concluding Debussy, no wonder since I've known it for 10 years. This is a work strongly on the cusp of neo-classicism, Boulez said he admired it for it's simplicity, but I think that it can also be very passionate, as it was done here. I enjoyed this recital and I will be going back for more (for people in Sydney, they usually do two of them on a Monday night, one at around 6 the other at 7.30 - check the con's website)...


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## Sid James

Just came back from a concert here at Sydney University's Great Hall:

The University of Sydney Graduate Choir & Wind Ensemble
Christopher Bowen OAM, conductor/musical director

G. Gabrieli - Canzona, Sinfonia, Sonata for brass; Motets for choir, organ & brass
A. Bruckner - Ecce sacerdos magnus (motet); Mass in E minor

I enjoyed this concert, it was a good pairing of two composers, the earlier one influencing the later one. It was the first time ever that I had heard any works by Gabrieli, and I found them interesting. I have known the Bruckner mass for years. The concluding Agnus Dei is the most ambigious and soul-searching conclusion to any mass that I have heard. It was also the first time I have heard this ensemble, and they were pretty good imo...


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## Sid James

Continuum Sax, Match Percussion with guests Natsuko Yoshimoto and Roland Peelman

*Last Blues*
Eugene Goossens Hall, ABC Centre Ultimo

Performers: Natsuko Yoshimoto - Violin, Daryl Pratt and Alison Eddington - Percussion, Margery Smith, James Nightingale, Martin Kay, Jarrod Whitbourn - Saxophones and Roland Peelman - Conductor

This was an excellent concert. The program was as follows:

Gyorgy Ligeti - 6 Bagatelles for saxophone quartet (arr. Fabio Oehrli)
Margery Smith - Lost Blues for saxophone quartet and percussion duo (World Premiere)
Mary Finsterer - IONIA for saxophone quartet and percussion (Premiere of new version)
Chun Ting Pang - In Different Spaces for percussion duo
Matthew Hindson - Song of Life for solo violin
Brian Howard - Last Blues for solo violin, saxophone quartet and percussion duo (World Premiere)

I really enjoyed seeing the two percssionists (who are a couple in real life) playing all of their various interesting instruments. All the pieces were interesting. The Ligeti was a great opener, very virtuosic and bright. The highlight of the evening was the premiere of Brian Howard's Last Blues, virtually a concerto for all of the musicians. It was based on Cesare Pavase's poem of that name & every player was a soloist in this piece. There were cadenzas for the saxes, the violin, and the two percussionists. It had much lyricism and poetry, but also some dissonance and darkness. Three of the composers were there on the night.

Another concert I went to during the week:

*Frozen Improvisations* -* in memoriam of Niels Viggo Bentzon (1919-2000)*

Georg Pedersen, cello
Tonya Lemoh, piano

Recital Hall West, Sydney Conservatorium of Music

Sonata for Solo Cello Op. 110 (1956) (Sydney premiere)
Traesnit for solo piano Op. 65
Sonata for Cello and Piano Op. 43 (1947) (Australian premiere)

I had never heard the music of this Danish composer before. My first impression was that there were elements of minimalism as well as a kind of romanticism in his music. The colours of the solo piano piece were pretty amazing, and there were many repeats (at least for the piano part) in the Sonata for Cello & Piano. Both of the musicians played excellently...


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## Sid James

Went to two concert in the past few days:

*Julian Day - An Infinity Room*
Recital Hall East, Conservatorium of Music, Sydney

*Music on Winter Sundays - The Occasionally Performing Sinfonia (TOPS)*
Macquarie Theatre, Macquarie University, Sydney
Conductors: Mal Hewitt; Steven Hillinger (Shostakovich)

Wagner - Prelude to Act 1 of Lohengrin
Mahler - Adagietto from 5th Symphony
Chausson - Poeme for Violin and Orchestra (Soloist - Richard Pulley)
Shostakovich - Symphony No. 5 in D minor

Julian Day's music is very minimalistic. The main half hour (or so) work after the interval of this concert, called _Ceremony_, featured Day and three other musicians on electronic keyboards. They successively placed and changed heavy screws onto the keys, which sustained the notes and created a drone-like sound. It was good to hear four keyboards going at once - the sound was quite hypnotic and mesmerising. It was probably the type of music that's more engaging live than it would be on a recording.

The TOPS concert was fantastic. There were about 500 people in the theatre. All the works were performed well, but the highlights were violinist Richard Pulley's soulful and turbulent rendition of the Chausson _Poeme_ & a very dramatic interpretation of the Shostakovich, which perhaps the most ironic reading of the finale which I have heard. This was perhaps the most "angst-ridden" program (as conductor Mal Hewitt joked), but the way it was presented by the two conductors made it very accessible. This is a voluntary orchestra (no-one gets paid a cent), but their performance was spirited and committed. This very fittingly brought to a close the free Macquarie Uni series, and I look forward to going to more next year. I think it's great that the uni is attempting to be inclusive and welcome people from all levels of society to enjoy the richness of the classical repertoire.

It was the first time I had seen either of these two groups perform...


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## Sid James

Went to this one yesterday with a friend:

*Tatiana Kolesova, piano*
Blessed Sacrament Church, Mosman, Sydney

*Chopin *- Four Ballades, "Heroic" Polonaise
*Ravel* - Valses Nobles et Sentimentales
*Nicolai Kapustin *(b. 1937) - Sonata No. 2 Op. 54 (1989)

This was the first solo piano recital I had attended for 20 years. The pianist is on a tour here from Russia. She was of a very high standard, having won 2nd prize (out of 250 applicants) in the Sydney International Piano Competition in 2008. The Chopin was lyrical, dramatic and song-like, the Ravel was witty and light, and the Kapustin work was full of the blues (unusual for a Ukranian?) and reminded me of Ives (the notes say that he was influenced by Gershwin, but there was a 12 note row in the final movement). All up, some good variety and a very enjoyable recital.


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## Nicola

I was at the penultimate Night of the Proms last Saturday: Monteverdi's _Vespers 1610_ performed by English Baroque Solists/Montevedi Choir/His Majestys Sagbutts and Cornetts conducted by Sir John Eliot Gardner.

Altogether, I attended 12 evening concerts at the Albert Hall, and 4 chamber music concerts at Cadogan Hall. This is a record for me in the 10 years I have been regularly attending the Proms.

The concert I enjoyed most of all was the Monteverdi Vespers, which was utterly mesmerising. Fortunately the BBC put out a very high quality radio transmission of that concert at 320 kbits/sec AAC (LE), and the result is virtually genuine CD quality.


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## Sid James

On the weekend went to this concert by the Australia Ensemble, resident at University of New South Wales, Sydney. The Program was a good mix of two C20th Australian composers and two Europeans from earlier times:

Saturday September 18, 8pm
Sir John Clancy Auditorium

Peggy GLANVILLE-HICKS (1912-1990): Concertino da camera for flute, clarinet, bassoon and piano (1945)
Nigel BUTTERLEY (b 1935): Spindles of the Stars for flute, clarinet, violin, cello and piano (2005)
Robert SCHUMANN (1810-1856): Piano Trio No 2 in F Opus 80 (1847) - 200th anniversary of the composer’s birth
Wolfgang MOZART (1756-1791): Clarinet Quintet in A K581 (1789)

A superb concert on all accounts. The Glanville-Hicks was a light, neo-classical work (she studied in Paris under Boulanger). The Butterley was reminiscent to me of Takemitsu, washes of colour (very subtle), & at one stage the piccolo, violin and cello played the same note, which sounded like it was coming from the same instrument. The composer was in the audience. The Schumann was poetic and lyrical - many emotions, highly influenced by J.S. Bach (the counterpoint). & to top it all off, the Goldner String Quartet with clarinetist Catherine McCorkill played the Mozart, which is my favourite clarinet quintet. The final movement was played quite fast, but they were so skilled, they could handle it easily. This was my first concert at this venue, and I plan to go back (acoustic excellent - the concert was recorded by ABC Classic FM radio for future broadcast)...


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## Sid James

Another one I went to at the Sydney Con last night:

"A Little Charisma with Friends"
Charisma Trio
Julia Ryder - cello
Ros Dunlop - clarinet/bass clarinet
David Miller - piano
Valmai Coggins - guest viola

Alfred Hill - Miniature Trio No. 1 in F for clarinet, cello & piano (1916-18)
Moya Henderson - G'Day Africa (I-III) for clarinet (doubling bass clarinet), cello, viola & piano (1995)
Nino Rota - Trio for clarinet, cello & piano

I had never heard any of these works. I came to see a Ravel & Tchaikovsky piano trio recital but it was postponed, this was on instead. The Hill was a neo-classical piece, written for his students at this very institution (the Sydney Con) where he taught. It was light & reminiscent of Mozart. The Henderson was the piece that grabbed me the most, based on South African songs & the clarinet part especially jazzy. The finale of the Rota was the most familiar piece, as it had a circus atmosphere, reminding me of a part of the soundtrack of La Strada (which he did for Fellini). I really enjoyed this recital, especially the Henderson (who was in the audience)...


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## Sid James

Just went to two concerts here in Sydney this weekend (25-26 Sept '10):

*Metropolitan Chamber Orchestra*
Emma-Jane Murphy, cello
Sarah Grace-Williams, conductor

Ravel - Pavane for a Dead Princess
Schumann - Cello Concerto
Haydn - Symphony No. 103 "Drumroll"
*
Sydney University Musical Society*
Gregory Platt - conductor
Ross Cobb - organ
Alice Girle, Jocelyn O'Brien - soprano (Vivaldi)
Eliza Newton - alto (Vivaldi)
Oskar Andersson - treble (Faure)
Morgan Pearse - baritone (Faure)

Faure - Requiem
Vivaldi - Gloria

A great weekend of music here in Sydney. I enjoyed all of the pieces, couldn't single one out. I wish all weekends could be as musically good as this! Also a weekend of firsts - the first ever cello concerto my accompanying friend & I saw, as well as the first requiem & Vivaldi piece. We chatted to cellist Emma-Jane Murphy after the MCO concert, and told her how much we appreciated her fine performance. Both the Schumann & Faure are pieces that didn't really grab me at first when hearing the recordings, but once I got to know them better, things just clicked into place. & seeing them live was the pinnacle for me. I'll be going to see these performers regularly, the MCO has a fantastic line up for next year, which is quite exciting...


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## World Violist

I just got back from a piano recital by Gregory Partain. He played Beethoven's Waldstein, Ravel's Sonatine, and after interval Chopin's B-minor sonata. Then for an encore there was Schumann's F-sharp (?) Romance. (by the way, this was my first time hearing any of these pieces)

I liked the Waldstein a lot. Crystal clear structure without being in your face, wonderful thematic concentration, and one intensely moving slow movement won me over to this, with very sensitive playing from the pianist. He didn't go for big effects, and I'm sure Beethoven didn't ask for any.

Ravel's Sonatine is a fascinating piece, and I found some quirky similarities between it and the Waldstein. The structure and thematic material were both very clear (after all, it was Ravel), and Dr. Partain brought out every nuance.

Sad to say I hated the first two movements of the Chopin, and the fault did not involve the pianist at all. I just don't think Chopin was cut out for large-scale forms. There were broad, arching melodies... and then there was another... and it segued neatly into... another... and the scherzo wasn't much better. The slow movement was very good because it played to the melody's advantage, but then it forgot to end about five times so I got bored with it. By the time the finale came, my brain was so dead from trying to connect strands that simply didn't exist that I could hardly care anymore.

Schumann was great, and a much better ending to the program. Sensitive, dignified, intimate, and carrying a sense of finality about it. Quite moving.


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## Sid James

Just went to a song recital yesterday at St. John's Uniting Church in Neutral Bay, Sydney, Australia:

*"An afternoon with Lauris Elms"*

This recital featured an interview with one of Australia's most well-loved opera singers, Lauris Elms, as well as performances by singers from Opera Australia of some of her favourite songs:

*Britten* - A Charm of Lullabies (mezzo soprano Dominica Matthews)
*Schubert *- The Shepherd on the Rock (soprano Fiona Maconaghie, with Deborah de Graff (clarinet))
*Mahler* - Ruckert Lieder (baritone James Roser)
All accompanied by John Martin at the piano

This was a very enjoyable recital. They also played Schumann's _Three Fantasy Pieces _for clarinet and piano. Silvio Rivier's interview with retired opera/lieder singer Lauris Elms was particularly interesting, with her recounting memories of her career, including singing with Joan Sutherland at Covent Garden in _Lucia di Lammermoor_. It was interesting how she started off playing the piano, then the violin, and then began to work as a singer after a stint in the graphic arts industry. The clarinettist at the recital was her daughter. I liked all of the songs of the recital, the singers of the Australian Opera sang the Schubert, Mahler and Britten beautifully. This was my first song recital in 20 years, and my friend's first ever song recital, so it was quite exciting. We were also able to talk to some of the performers after the recital, as nibblies and drinks were served in the church hall. All in all a great evening & we plan to go to more of the recitals in this "Artsong" series...


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## World Violist

I got back from a college choir concert just now. It was really good, and my first experience of hearing Arvo Part in concert (as opposed to playing).

Svilainis: Vox populi, vox Dei
Martini: Domine, ad adjuvandum me festina (I've played viola in this piece before)
J.S. Bach: Sicut locutus est (from Magnificat in D)
Mendelssohn: two choruses from Elijah ("Help, Lord" and "Lord, bow thine ear")
Weelkes: Sing we at Pleasure
Lauridsen: Dirait-on
Standford: Quick! We have but a second

-interval-

Haydn: Awake the Harp (from the Creation)
Stroope: I am not Yours
Victoria: Super flumina Babylonis
Part: Nunc dimittis
Tomkins: When David Heard
Whitacre: Kala kalla (Five Hebrew Love Songs)
Huh: Sanctus (from Missa Arirang)
Memley: O Magnum Mysterium

The highlight for me was the Part. It was interesting since I was very taken with all the Renaissance music that was being sung, mostly for the stillness it created (except for the more jaunty ones, of course), and then the Part came in and everything got that much stiller.

Wonderful concert.


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## Sid James

Just went to this last night:

*Sydney Conservatorium of Music
20th Century Masters Modern Music Ensemble*
Daryl Pratt, director
Michael Haliwell, baritone (Schoenberg)
Ole Bohn, violin and
Daniel Herscovitch, piano (Berg)

*Schoenberg *- Serenade Op. 24
*Berg *- Kammerkonzert

This was the first time I had seen the music live of either composer & it was great. It was interesting to see a mandolin and guitar as part of the ensemble for the Schoenberg. Despite this being one of the first ever serial pieces, the music was quite light and much of it based on dance forms. The bartione solo, with words from a sonnet by Petrarch, formed the pivot of the work. I had not heard the Schoenberg before, but I have been familiar with the Stern/Serkin/Abbado recording of the Berg since late last year. The whole of this work is based on the motto themes of the names of Schoenberg, Berg and Webern which are played by the piano, violin and horn at the beginning respectively. It is also a very symmetrical work - there are 15 players in all (divisible by three) and three movements. The first is mainly for the piano, the second for the violin and the third for them combined. There's even a bit of humour here - in the first movement, as the pianist is playing, the violinist "tunes up" (prefiguring the beginning of the later _Violin Concerto_). There was a lot going on in this performance, and I thought that the flautists (one doubling piccolo) also had a bit of a workout. The concert was preceded by a lecture on the Second Viennese School (and these works in particular) by Australian musicologist and broadcaster Andrew Ford. All in all, a great evening out...


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## Nix

These past two weeks I went to the BSO and saw Mahler 2 and 5.
In 2 the orchestra started off a little weak, but when the choir came in and then the finale- I was half crying half laughing. Just completely floored me. 5, which, with recordings I generally prefer over 2 wasn't so moving live. BSO has amazing technique, but the musicians just looked so dead. Still, their brass section is absolutely amazing.


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## Muttley SE

I dunno if it qualifies as purely classical, but last night at Oxford's Holywell I saw a soprano, mezzo, baritone and pianist perform Hugo Wolf's repertoire, naturally sung in German. A mixture of poetry, opera and classical pianism. I was lucky I got a seat! The thing sold out and the atmosphere was awesome. They're setting up a syndicate which needs 40 people to donate £100 to get a vinyl label up and running. The concert was recorded, and lasted around two hours - perfect length. 

As did Max Richter's show at Cadogan Hall in September. He's a pioneer of "post classical", so again not entirely traditional, with a string quintet and electronics peppering and overlaying the compositional understructuring. They performed "Infra" after an hour of pieces from his back catalogue. It was the first time I'd been at that venue, and hope to visit in the future.


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## World Violist

I went to the Kentucky Music Teacher's Association Composers' Concert today! It was quite amazing; all the composers were still alive, all were present, and three of them were performing their pieces in some capacity. The last piece in the concert, Richard Crosby's viola sonata, was the definite highlight; it was the world premiere of the evening, having been the commission of the year. I met the composer next year and it looks like I'm going to be learning it! I'm really excited about it; it's a fantastic piece.

Here's the program:

Charles W. Smith: Flute Sonata (1998)
Tim Polashek: Piano Sonata (2005)
Thomas Couvillon: Blues Trio (2008)
Larry Barnes: two movements from Rain Songs (1992)
Richard Burchard: O Magnum Mysterium (2000/2006), Creator Alme Siderum (1998/2000)

interval

Marc Satterwhite: three selections from Van Gogh's Flowers (2008)
Richard Crosby: Viola Sonata (2010)


The flute sonata that began the program was very impressive to me; the flute had an expressive singing line and the piano part was very sparse, but it was still a work of remarkable substance. Upon looking in the program notes it makes sense; Charles Smith is an accomplished flautist and it shows in the confident writing. It was a great piece.

The Polashek piano sonata was the low point of the whole concert, and it was not because of the composition; the pianist was just reading the notes, not phrasing anything, not varying any dynamics, etc. I told myself during the performance that I didn't like it, but I kept thinking of things that could have been better and soon realized that it was the pianist who was disservicing the music, so I can't really make a fair judgment of it as a piece.

Couvillon's Blues Trio was alright... I didn't find anything truly remarkable about it either good or bad.

The Rain Songs were interesting. Despite its title, it was for flute and piano (composer at the piano). The first selection didn't actually have any piano at all, the pianist utilizing a rain stick and vocalizing. The second selection brought the piano in, and there were strong reminiscences of Ravel. It was still very good, though. I can't remember it so well.

The two pieces by Richard Burchard were nice; typical modern choral music.

Satterwhite's songs from Van Gogh's Flowers (three of five were sung) were quite good. Much of the English texts were almost declamatory in delivery, and the added horn part was very coloristically used, with several instances of stopped notes and multiphonics. The second selection was my favorite, with a slow tempo and eschewing big dramatic effects, plainly setting the text. It was truly beautiful.

Richard Crosby's viola sonata had a solidity that few of the other compositions had, written in a fairly normal sonata form overall in largely normal Romantic-esque tonality. However, there were many fascinating changes in character and mode within the structure that were attractive to me. The viola part was fairly uncomplicated (my former viola teacher actually helped the composer in writing the viola part), as was the piano part (Crosby is a professionally-trained pianist and performed as such in this performance). The sonata is officially being released for sale tomorrow, so I'm looking forward to that. I feel like it's a valuable piece for the viola repertoire.

So overall this was a very good concert.


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## Sid James

I enjoyed your review, WV...

Went to this chamber concert on the weekend, at the University of New South Wales in Sydney. The performers were members of the *Australia Ensemble*.

*Ligeti *- Six Bagatelles for wind quintet (1953)
*W.A. Mozart* - Eine kleine Nachtmusik in G K525 for two violins, viola, cello and double bass (1787)
*Matthew Hindson *(b. 1968) - Light is both a particle and a wave for flute, clarinet, piano, two violins, viola and cello, commissioned by Justice Jane Matthews (2010) - first performance
*Saint-Saens* - The Carnival of the Animals (Le carnaval des animaux) for two pianos, two violins, viola, cello, double bass, flute, clarinet and glockenspiel/xylophone (1886)

This was a fun night. The older pieces were light and fun, while the Hindson was more serious. The first movement of the Hindson reminded me of Xenakis (structured dissonance?) and the second movement of the old romantic classical music. There was a pivotal piano solo where the pianist played all over the keyboard - very impressive to see/hear. I was a bit thrown off by how, after the dissonance and almost aggressive energy of the first movement, there was a complete change of style to something more romantic and melodic. It was a big contrast. The Saint-Saens was the most fun piece of the evening, and a great finisher (for the whole Australia Ensemble 2010 season). I especially liked how cellist Julian Smiles was able to play the famous Swan in an emotional way without lapsing into sentimentality. I look forward to going to more of their concerts next year...


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## Sid James

Went to see this last night @ Sydney Conservatorium of Music:

Cocktail Hour Recital Series
*"Not unravelling and not petering out"*
Ole Bohn, violin
Georg Pedersen, cello
Phillip Shovk, piano

*Ravel* - Trio in A minor
*Tchaikovsky* - Trio in A minor, Op. 50 (Dedicated to a great artist, Nicolai Rubinstein)

This was a recital by three of the teaching staff of the Con, who are excellent musicians. The Ravel piano trio is one of my favourite works by him. It's light and airy, the first movement being based on a Basque tune, the second on the rhythms of Malaysian poetry, the third a passacaglia (neo-classical?), and the finale contains reminiscences of what went on before. I just love the last movement - it makes me think of being on the beach in summer, hearing the surf, the hot sun, a whisp of breeze. Apparently Ravel despised Beethoven (cellist Georg Pedersen related how Ravel said to cellist Gregor Piatagorsky, Pedersen's teacher, after a recital of Beethoven words to the affect that "Your performance was excellent, but why did you choose to play such terrible music?"). Funnily enough, I hear similarities in how both composers utilised the piano trio, but those similarities may well be superficial. The second half of the program was taken up by Tchaikovsky's piano trio which I had never heard before. The first movement was quite song like but also agitated, the second a theme and variations which (at times) had a Baroque/Classical era flavour - a bit like the Rococo Variations - and the third quite elegaic and dark.

For those in Sydney, these Cocktail Hour recitals are on at the Con every Monday, put on by staff of the Con, and the cost is $15 adult/$10 concessions. The two small 100 seater recital halls are used, so the atmosphere is intimate and you get a good view (staggered seating). They are put on during semester times only. Recommended!...


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## Sid James

Last night, I went to these two at Sydney's Conservatorium of Music:

*"Mature Delights"*
*Sydney Conservatorium Symphony Orchestra*
Imre Palló and Doctor of Musical Arts student Anthony Clarke, conductors

Sculthorpe String Sonata No 5 for string orchestra*
Bartok Concerto for orchestra
* World Première 101 Compositions for 100 Years

*"Zodiac"
Ensemble Offspring*
Program:
* world premiere

•Mitchell Huckstepp: new work, for flute, clarinet & two percussion *
•Daniel Manera: Duet for Clarinet and Hi-Hat *
•Laura Altman: new work, for flute, clarinet & two percussion *
•Helena Czajka: Trafalgar Square, for flute, clarinet, marimba and vibraphone *
•Stephen Rozanc: new work, for flute, clarinet & two percussion *
•Natalie Unwalla: The Mouse, the Bird and the Sausage, for flute, clarinet and marimba *
•Marcus Whale: Slatted Light, for two winds, accordion and vibraphone*

- interval -

•Karlheinz Stockhausen: Tierkreis (arr. Ensemble Offspring), for flutes, clarinets & 2 percussion

I enjoyed both concerts. In the first, Peter Sculthorpe talked about his concern with how climate change is effecting Australia, and how this was the main issue behind his String Quartet No. 18 (here in a new arrangement for string orchestra). He said that he had thought about ending the work in a dark way, but said that he's an optimist and couldn't bear to do that, no matter how (sometimes) grim the outlook in this matter. The movements were titled Prelude - A Land Singing - A Dying Land - A Lost Land - Postlude. There were the usual trademark Sculthorpe sounds - insect sounds, bird song, and the drone of the didgeridoo simulated by the strings. The middle movements sounded similar to his Sun Musics a bit. Initially, when hearing the optimistic ending of the work in the original version on radio (the birds return after the desolation of the middle movements), I thought it was a bit cheesy. But talking to a woman during the interval, she said that we need a bit of optimism in this day and age & I think that's true. I really liked the sound of the five double basses - awsome!

After the interval we were treated to another "mature delight," Bartok's exhuberant, tragic and humorous Concerto for Orchestra. The orchestra played their hearts out. This is a great group who just got back from acclaimed performances in New York and San Francisco (maybe some members here saw them?). I think that they must have done us proud, judging from the standard of their playing here.

The Ensemble Offspring concert was no less enjoyable. We were treated to seven new works by final year students at the Con. There were a variety of approaches, eg. the Manera sounded jazzy and a bit rocky, the Altman a bit like the static but ever changing soundscapes of Takemitsu, & the Huckstepp a bit minimalistic. To top it all off, after the interval the four musicians played their own arrangment of Stockhausen's Tierkreis (Signs of the Zodiac) and doubled and even tripled on all manner of wind and percussion instruements - a plethora of flutes and clarinets, accordion, mouth organ, piano, cowbells, marimba, xylophone, and even a music box. It was perhaps the most colourful piece I have ever heard. I plan to go to some of their concerts next year, I talked to their director and Harry Partch's music is on the cards (they are currently building the instruments to play that). Can't wait!...


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## Ivan_cro

Last Saturday I was in concert hall Vatroslav Lisinski here in Zagreb.
And I had one the best concerts in last few seasons 

*Sao Paolo symphony orchestra conducted by Yan Pascal Tortelier* and soloist *Antonio Meneses, violoncello*Wonderful orchestra, fabulous conductor and soloist.*My mouth is full of praise!*

The program was following:

*Antonio Carlos Gomes: Lo Schiavo: Alvorada*
Alvorada means Waking and it describes waking of the Brazilian forest.I've never heard anything made by this composer but in the program book it says he was very popular in Europe, in 19th century, and that some people even said he was as good as Verdi.
About the composition.It is intermezzo from opera "Slave" and it made really good impression on me.Great role had the :trp: , brass section. 
The song started slowly and quietly but had a constant crescendo and it finished in I dare to say epic way.

*Edward Elgar: Concerto for violoncello and orchestra in E minor op. 85*
I'll just say: wonderful!Everything was perfect, the composition, soloist and of course Elgar.I especially liked 3rd movement Adagio.

*Claude Debussy: Prelude to the Afternoon of a Faun*
1st time I heard Debussy played by orchestra and again it was wonderful 

*Witold Lutoslawski: Concerto for orchestra*
I was very skeptical about this concerto.But (again) I was very pleased.My first thought was: interesting.After a minute I thought: this is fantastic 
I was a bit annoyed by the timpani in the 1st movement but in whole I liked this concert very much.

The fact that all of this pieces were new to me might be explained with my age 
I'm 15 (and a pianist) and in the past 2 years I've been on a lot of concerts and slowly I'm developing my own musical taste.This was one of my favourite concerts in the past 2 seasons, mainly because of the orchestra and the conductor who was great.I'm sure that if some other orchestra played this program I wouldn't like it so much.But I would like Antonio Meneses.

I'm looking forward to concerts tomorrow and the day after tomorrow.Evgeny Kissin and Milano Scala orchestra.I'll write a review when I get time. 
I hope you'll like my review


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## Sid James

Went to this last night:

*Cocktail Hour Recital - Three Clarinets +*
Monday 8 November 6.00pm
Sydney Conservatorium of Music

Ros Dunlop clarinet, Sue Newsome clarinet, Natascha Briger clarinet,
Christopher Kimber violin, Valmai Coggins viola, Julia Ryder cello,
David Miller piano

*Schoenberg* Suite Op. 29 for violin, viola, cello, piano, Eb clarinet, Bb/A clarinet, Bass clarinet
*Feldman* Three clarinets, cello and piano
*Smith* T(F)ree Radicals for three bass clarinets and electronics

Enjoyed this recital. Margery Smith is an Australian composer, and she was there at the performance at the electronics console for the performance of her piece. It had disssonance, some quite groovy jazzy moments, with the electronics providing a vague backdrop of sounds which I was constantly trying to work out what they were - natural or man-made? The Feldman was a slow, quiet and very intense piece. In complete contrast, the Schoenberg was very busy, full of this Baroque like counterpoint married with serialism. I was a bit exhausted by this piece because I'd never heard it before, and was trying to follow the various voices, but eventually gave up and just tried to listen without being too **** about it. All in all, this was a great recital...


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## World Violist

Tonight was the first night of the New Music Festival at University of Louisville (and the guest composer is... yes, Norgard).

Norgard: Mating Dance
Satterwhite: Van Gogh's Flowers
Knehans: soar
- interval -
Norgard: Images of Arreso
Plog: Horn Quartet No. 1
Persichetti: Sonata for Solo Violin
Norgard: Secret Voices (arrangement of movements 1-3 and 5 of the viola solo piece Secret Melody (the fourth movement is forthcoming))

For me, the best part of the concert was afterward, when I had a small discussion with Norgard himself, mostly about the Secret Melody, to which I have the score. It was really neat to talk to him; he's very unassuming, very quiet-voiced and nice. He recommended a book to me (from which the Secret Melody got its title) and we also talked a bit about his Voyage into the Golden Screen, in which I'm also playing. I hope I can talk to him in the next few days somewhat about Remembering Child, his viola concerto; it's one of my favorites of his.

This week is shaping up to be really awesome.


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## Sid James

Yes, WV, it's always good to go to these kinds of low-key events and get a chance to talk to the musicians involved...


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## Ivan_cro

This Tuesday,* Evgeny Kissin had a recital in Lisinski hall in Zagreb.*
One wonderful pianist, two great composers and in whole a beautiful event.

He played:
*R.Schumann: Fantasiestucke op. 12 *
He played all 8 parts.I liked maybe half of them, Schumann isn't really my favourite composer.Kissin played it great.He had everything in control, crystal sound...

*F. Chopin: Four ballades* 
G-minor
F major
A flat major
F minor

He really showed his great talent in the second part!Once again, everything was in control, crystal sound, all notes played correctly, technically perfect musically wonderful, I really enjoyed 
He played three pieces after a giant ovations by the public -- two valse and a Scherzo b minor, Chopin.
And again WONDERFUL 
I really enjoyed in this concert, such a talent and such lovely music.After the concert I bought a CD and Evgeny Kissin gave an autograph.I was really happy


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## Sid James

Yes, the Chopin ballades are always good to hear live & a bit of Schumann never goes astray, either!...


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## Sid James

Just went to this one here at City Recital Hall Angel Place, Sydney:

*"A Little Lunch Music" with Selby & Friends*Taryn Feibig, soprano
Kathryn Selby, piano
Emma-Jane Murphy, cello
Dimity Hall, violin

*Schubert* - Gretchen am spinnrade (soprano, piano)
*Amy Beach* (1867-1944) - Two Songs for vioice, violin, cello and piano Op. 100 No. 1 & Op. 100 No. 2
*Shostakovich *- Seven Romances on Poems of Alexander Blok Op. 127 (1967), Vocal-instrumental suite for soprano, violin, cello and piano (sung in German)
I. Ophelia's Song
II. Gamayun, the Bird of Prophecy
III. We Were Alone
IV. The City Sleeps
V. The Storm - VI. Secret Signs - VII. Music
*Encores:* a song by Gershwin & "I could have danced all night" from My Fair Lady

I really enjoyed this performance. I had never heard this apparently popular Schubert song, and think it's the darkest and most tragic piece I have heard by him. Amy Beach was an American composer who studied in Germany, and these two songs reminded me strongly of Wagner. The Shostakovich was quite dark and moody. The fifth song, "The Storm" was the perfect evocation of a world in chaos. This song cycle was written after the composer's first heart attack, on the behest of cellist Mstislav Rostropovich. Kathryn Selby told of how the composer had experienced "writer's block" after his recovery, his wife had disposed of all of the alcohol in the house, but he found one tucked away in a cupboard corner, drank it, and the work simply poured out of him. After the darkness of the Shostakovich, the two encores finished the concert with a bit of froth and bubble. Just shows the range of Taryn Feibig's voice. All in all, this was a very enjoyable concert for me & I hope to go to more of theirs next year...


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## LindenLea

Hello...again! It's been a while!

Last night, my wife and I went to this...










To put it mildly, it was by some margin the most fullfilling and special evening's music I have heard in many years, performed to a packed audience in Blackburn Cathedral by the most superb cast of soloists, instrumentalists, and choristers. Monteverdi's music is of course timeless, and clearly as potent a force in a north-west England city centre cathedral in 2010, as it was when it was first created and performed in Venice over 400 years ago, some of the most spiritually uplifting and inspiring music known to me, the Vespers last around 2 hours, but as I said to the cathedral verger as we left, if it had gone on for another 5 or 6 hours, I still would not have tired of it! There are several fine recordings of the Vespers of 1610, most notably the one by John Eliot Gardiner recorded in St Mark's, Venice, but nothing can prepare you for a live performance in such a sublime setting, we were all transfixed!


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## GraemeG

Nov 20: Sydney Opera House. Berlin Philharmonic / Rattle. 
Rachmaninov Symphonic Dances, Mahler 1.
Tickets were expensive, but it was worth selling a kidney for.
Definitive performances. To hear a Mahler 1 where your attention never wanders for a moment is practically unheard of.
The BPO can make some impossible unearthly sounds.
If you ever get the chance to hear them, do it. Whatever it takes, whatever you have to cancel, however much rain you have to tramp through - GO.
cheers,
G


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## Sid James

Went to this yesterday:

*"DOUBLE DUOS"*
Performers: Laura Chislett Jones - Flute, Thomas Jones - Violin, Daryl Pratt - Percussion, Alison Pratt - Percussion, David Gilfillan - Sound Projection

Recital Hall East, Sydney Conservatorium of Music
PRESENTED BY: NEW MUSIC NETWORK
*
Wolfgang Rihm *- Drei Vorspiele zu einer Insel (Three Preludes to an Island) for flute, violin and percussion
*Elliot Carter *- from 4 Lauds, Rhapsodic Musings for solo violin
*Rosalind Page* - Courbe dominante for flute in C, alto flute & saturnian sound source
*Hanna Kulenty* - A Fifth Circle for flute and delay
*Giorgio Colombo Taccani* - Luz for flute and violin
*Diego Luzuriaga *- Double Duo for flute, violin and 2 percussionists

These musicians are virtuosos at the top of their game. It was an excellent program, but I particularly liked Page's work, which included sounds recorded from the planet Saturn, which interspersed the acoustic flute parts; and Luzuriaga - who is an Ecuadorian composer - whose work took me to the heart of South America. The last movement was particularly fun - a fast dance, very percussive, from the Ecuadorian Andes. I'll have to check out what some of these composers have on disc. The only piece I knew was the Carter, the rest was entirely new to me...


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## eothen

GraemeG said:


> Nov 20: Sydney Opera House. Berlin Philharmonic / Rattle.
> Rachmaninov Symphonic Dances, Mahler 1.
> Tickets were expensive, but it was worth selling a kidney for.
> Definitive performances. To hear a Mahler 1 where your attention never wanders for a moment is practically unheard of.
> The BPO can make some impossible unearthly sounds.
> If you ever get the chance to hear them, do it. Whatever it takes, whatever you have to cancel, however much rain you have to tramp through - GO.
> cheers,
> G


thankfully i didn't have to tramp to rain or cancel anything - but i just MIGHT sell a kidney to hear them again, they are SOOOOOOOOOOOOO good. They're doing the Mahler and Rach programme tomorrow - am considering spending a fortune for a ticket even though i wasn't intending to go originally.

*23 Nov, Esplanade Concert Hall, Singapore*
_Haydn Symphony #99
Berg 3 Pieces for Orchestra Op 6
Brahms Symphony 2_

OMG.

i wish i had the language to describe the Berlin Phil sound. What wouldn't i give to live in Berlin. If anyone else here was at the same concert - give a shout-out yah? It'll be nice to rave with other fellow fanatics.


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## GraemeG

eothen said:


> They're doing the Mahler and Rach programme tomorrow - am considering spending a fortune for a ticket even though i wasn't intending to go originally.


Go, go, go, go, go.

I bought cheap (relatively) tickets for the Sydney Opera House concert, and was aware even when listening how much better they would have sounded in a better part of the hall.
Won't hesitate to spend more next time they come (if ever!).

It really is unforgetable.
cheers,
G


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## eothen

GraemeG said:


> Go, go, go, go, go.
> 
> I bought cheap (relatively) tickets for the Sydney Opera House concert, and was aware even when listening how much better they would have sounded in a better part of the hall.
> Won't hesitate to spend more next time they come (if ever!).
> 
> It really is unforgetable.
> cheers,
> G


i went. managed to get a (relatively) cheap ticket this MORNING (a miracle - THANK YOU GOD), and. 
O.M.G.
such a rich, LIVING sound. it defies description.

and i am now officially a Mahler fan. 

wishing i were living in berlin....


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## GraemeG

Well done!
G


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## Sid James

Just went to this recital last night by the Melbourne based *Flinders String Quartet * here in Sydney at the Conservatorium.

*Berg* String Quartet Op.3 
*Richard Mills* String Quartet No.4 'Glimpses from my 
book of Dada'* (world premiere) 
*Mozart* Clarinet Quintet in A major K.581
Clarinet Quintet fragment in B flat

Guest Artist Paul Dean, clarinet

*Commissioned with assistance from the Australia Council and dedicated to Flinders Quartet on their tenth birthday.

I really enjoyed this concert. I had not heard the music of Australian composer Richard Mills for many years. His string quartet was appropriately a bit of Dadaesque fun, with movements titled in ways like "The circumspect Ibis," "The rise of the airheads in public life," "Reve circulaire du Wombat," "Scheming and latte drinking," "The octopus quadrille," and "Anti Tango from Berlin as Premonition of invasion by Russian Herbalists." That movement's title was taken from the memory of a dream by fellow composer Grahame Koehne's mother, who died while the quartet was completed, so the last slow movement, a prayer, was dedicated to her. There were even paperclips inserted near the bridges of the first violins in the "Anti Tango," talking to the violinist Matt Tomkins afterwards, he said Mills was taking the **** out of this same thing done by a German composer in an avant-garde string quartet. It sounded like an household appliance sound, like the noise made by a fridge, vaccuum cleaner or microwave or something. I was also reminded of Bartok by this quartet, especially in the use of Bartok pizzicato.

It was pretty amazing hearing the Berg opus 3 done live as well. Those rich harmonies. The quartet played the three main themes briefly and talked about them before playing the whole work. I also learned that Berg wrote this very passionate work when he was dating his wife to be, but her father was quite obstructive and against the relationship.

To finish off, Paul Dean joined the quartet to play the sublime Mozart Clarinet Quintet in A. This is one of my favourite works by Mozart, and it is the second time that I have seen/heard it live. Paul Dean basically used his whole body to play the clarinet, and he had a very fine sense of dynamics. They also played the incomplete Clarinet Quintet fragment in B flat, which sounded a bit like the first movement of the other quintet, but it ended abruptly and only lasted 5 minutes or so.

All in all, I loved this (my first) taste of the Flinders Quartet, and plan to go to a couple of their recitals next year (they do three recitals throughout the year, touring Melbourne, Sydney and Brisbane)...


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## LindenLea

*Very* much looking forward to this tomorrow night at Manchester Bridgewater Hall...providing we are not snowed in and can even get out of the drive, let alone to Manchester!!!....

LINK : Halle/Mark Elder/Robert Cohen

We have friends with children in the Halle Youth Choir, who are to perform prior to the main concert, so that ought to be excellent, they are a top notch youth chorus. The Prokofiev 'classical' symphony seems to me to be one of the most perfectly formed, charming, and colourful works in the whole symphonic repertoire, and one very rarely hears ALL of the Dvorak Slavonic Dances performed live in their entirety, and I suppose it is most likely that one STILL won't!!... as I am unsure if they are to play the Opus 46 dances, or the Opus 72 dances, or just 'bleeding chunks' from each set, or indeed all 16 of them!! - which I very much doubt, as that must be easily 75 minutes of music, even at a brisk pace. So all will be revealed, and I shall report back in due course!


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## Aksel

Last Sunday, I went to a concert with the Arctic Philharmonic Orchestra, a rather new orchestra (yes, I know, right?), fresh back from the Mariinsky in St. Petersburg. Christian Lindberg (!) conducted.

Works played:
*Concerto for tenor trombone and orchestra by Ole Olsen:* Somewhat of a premiere, this concerto was written in 1884 by the Norwegian composer Ole Olsen, a composer that was (as most Norwegian composers at the time) overshadowed by Grieg. The concerto is unlike all other romantic trombone concertos (not that there are too many of them) I have heard. It is deliciously lyrical and very virtuosic, and it didn't hurt that Christian Lindberg played it.

*Concerto for piano and orchestra in A minor by Edvard Grieg:* Although not a premiere, but it might be, hands down, the best version of this concerto I've heard. It was played by Christian Ihle Hadland, a young Norwegian pianist. He managed to bring out some Lisztian qualities that I've never noticed before in the opening cadenza. The first and second movements were played very elegantly, and it made a lot more sense than other recordings I've heard (Eva Knardahl, Leif-Ove Andsnes). In the third movement, he really succeeded in bringing out the folk-style, almost gritty mood of the movement.

*Symphony no. 5 in E minor by Pyotr Ilyich Tchaikovsky: *An utterly marvellous performance of this symphony, a symphony I sadly did not have much of a relationship with, but Lindberg succeeded delivering a spectacular performance. I was not surprised that some Russian critics that attended the concert in St. Petersburg said it was some of the best Tchaikovsky that had been played there in years.


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## Sid James

Yes, Aksel, often I find I go to a concert and connect with works that I thought I couldn't appreciate that much (happened this weekend with the Sibelius).

On Sunday, I went to a performance by the *Woollahra Philharmonic Orchestra *at Scots College, Bellevue Hill.

Program:
*Beethoven* Emperor Concerto 
*Beethoven* Coriolan Overture 
*Sibelius* Symphony No. 2

Woollahra Philharmonic Orchestra
Soloist: Jacky Wong
Guest Conductor: Luke Gilmour

I enjoyed this concert. The pianist was Jacky Wong, who is over here from Hong Kong studying his masters at the Sydney Conservatorium of Music. A young guy & a past winner of the Asian International Piano Competition, he was a very subtle pianist, very rarely did he "bang" down on the keys. I loved the encore as well (I'm not sure, it sounded like Rachmaninov). The Coriolan and Sibelius symphony also received good performances (the finale of the symphony was their best effort, imo, and the flutes and woodwind sections made a very big effort to play those tricky bits). I think a major problem here is the poor acoustic of Scot's College Auditorium, there is very little decay, especially for the strings (which sometimes sounded higher than they really are). There was also a bit in the Sibelius where I saw the trombonists playing, but couldn't hear them! I have seen members of this group perform at the chapel at St. Joseph's College, Hunter's Hill, and that by far has a better acoustic. But I can't really complain much about the performances, they were pretty good for a semi-professional orchestra, imo. It was good revisiting the Beethoven pieces, which I saw live last in the '90's, and seeing the music of Sibelius for the first time ever...


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## Aksel

Sibelius 2nd! I love that symphony! Although, it is to be said that the first time I saw it was at the inaugural concert of The Arctic Philharmonic two years ago. It was their first concert and I think about 1500 people, if not more showed up, if not more. Not bad for a city with almost 50,000 inhabitants. I completely fell in love with the fourth movement.

But what is this about not hearing the trombones? If you don't hear trombones, they aren't playing loud enough.


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## Sid James

Last night, went to this one:

New Music Network presents
*atmospheres
Halcyon with austraLYSIS
*
Music Workshop, Sydney Conservatorium of Music

Program:

*David Adamcyk *- Avant la larme (2006) for soprano, tenor saxophone, piano & electronics
*Roger Dean & Hazel Smith* - Toy Language 2 (2010) for mezzo-soprano, acousmatic material, and live processing
*Kaija Saariaho* - Nuits, adieux (1991) for four singers and live electronics
*Kasia Glowicka *- Luminescence (2009) for five voices & electronics
*Trevor Wishart *- Vox 2 (1982-84) for four amplified voices and electronics

Artists

*Halcyon*
Elizabeth Scott, conductor
Alison Morgan, soprano
Jenny Duck-Chong, mezzo soprano
Jo Burton, mezzo soprano
Andrei Laptev, tenor
Clive Birch, bass
James Nightingale, tenor saxophone
Zubin Kanga, piano

*austraLYSIS*
Roger Dean, Greg White, sound processing & diffusion

Some of this music was right from the cutting edge; Adamcyk and Glowicka are young composers who were found by the ensemble on the internet (the former Canadian, the latter Polish but living in the Netherlands). The pieces I enjoyed the most were the Saariaho & the Glowicka. In the former, each singer sung into two microphones, and their voices came in and out of focus which created these subtle and delicate tones (the exploration of colour being an important aspect of this style, which is called spectralism). The Glowicka had these bassy sounds from the electronic accompaniment, and the singers went high and low to accompany these sounds. It had overtones of techno, and you wouldn't be forgiven for thinking it would be more in place in a night club than a concert hall! I really enjoy these concerts (I have gone to quite a few in this series this year), because (as on this night) I am able to hear composers' music which I am not familiar with at all. Needless to say, I enjoyed this concert, it was worth going for the two composers I mentioned alone, but the others were interesting as well...


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## Sid James

On Sunday, went to see this concert at Sydney Town Hall:

*Handel's Messiah
presented by The Radio Community Chest*

Combined Churches Choir
The Sydney Messiah Orchestra
Tim Chung, conductor
Peter Kneeshaw, organist & assistant conductor
Erika Simons, soprano
Anna Dowsley, contralto
Pascal Herington, tenor
Morgan Pearse, bass

I enjoyed this concert, was looking forward to seeing this work live for the first time ever this year. A friend was to come but he wasn't well. The choir was about 400 strong, and the orchestra was made up of 20 musicians, including a timpanist. There was organ in place of harpsichord. So in other words, this was a pretty large scale presentation of the work.

"For Unto Us A Child Is Born" was a thrill to hear. All of those dotted rhythms and counterpoint done beautifully. I was very moved by the work of all of the soloists involved, they are young singers at the start of their careers, and they did a great job.

I noticed that during the "Hallelujah" Chorus all of the audience stood, and the soloists also sung along with the chorus to this. Is this a tradition? The performance was very well received, there was a standing ovation at the end which went on for a long time. It seemed like the audience didn't want to leave. I really enjoyed it & I look forward to going again next year...


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## HarpsichordConcerto

Interesting. Sounds like a modern approach. But is' nice to have a Handel performed locally. (I couldn't attend). Hope you have recovered.

The audience standing thing is said to have originated when King George II stood up when he first heard the famous chorus performed because he was so impressed by it. Back then, when the king stood up, everybody else did to follow. That's the reason, although I'm not convinced if that story is completely authentic, and I would guess it has more to do with Victorian traditions than Baroque England.


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## Sid James

Yes, I just read that story about King George II staning during the "Hallelujah" chorus in a book I just got on classical composers. I'll have to go back and look at it whether it discusses the authenticity issue you raise. This was one of three local performances of the _Messiah_ that I knew of. It was within my price range, didn't clash with other concerts, and also was for charity which is nice. As I said, I plan to make this a yearly thing now, this work really has a good vibe especially around Christmas time (whether you're Christian or not - I saw people of different ethnic groups in the audience). Now I'm gearing up to going to the symphony concert in the domain on January 22 (as part of the Sydney Festival) if the weather is amenable. I'm not so fanatical about concerts so as to go in pouring rain! It will be a Shakespeare evening with Mendelssohns' _Midsummer Night's Dream_, Prokofiev's _Romeo and Juliet_ and Walton's _Henry V _(narrated by actor John Bell).

- Cheers, Andre...


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## Sid James

Went to this one yesterday:

*Christ Church St Laurence (Sydney) Organ Recital Series
Christopher Cook (Melbourne organist)
Instrument: Hill & Son organ, 1892*

Programme:

GF Handel (arr. WH Goss-Custard) - Overture to the Occasional Oratorio
F Liszt (arr. Edwin Lemaire) - Sposalizio (from Years of Pilgramage, Italian Book)
Percy Whitlock - Canzona & Scherzetto from Sonata (1936)
Jean Langlais - Prelude modal; Bells
E Elgar - Prelude & Angel's Farewell (from Dream of Gerontius)
Henri Mulet - Rosace (3 of Esquisses Byzantines)
Alexandre Pierre Francois Boely - Fantasie & Fugue in Bb

I have been wanting to hear French organ music live for some time, and this recital was great because that's my favourite part of the organ repertoire. The Handel was quite robust as usual, and a great opener. I didn't recognise the Liszt in the organ arrangement, it sounded totally different to the original piano version to my ears. I especially liked Langlais' second piece "Bells" - he got the sonorities right of the bell sounds and ringing the changes, imo. The Mulet was also a colourful and airy piece. The concluding Boely sounded much like Widor to my ears. I had not heard any of the music of the lesser names here, except for Langlais (got to get more of his stuff). This instrument is not the biggest organ, but the textures are quite subtle, the sounds very colourful. The recital went for exactly an hour, which was a very full programme, especially considering that it was free. I plan to go to more of these in the future (for people in Sydney - they're on the 3rd Sunday of each month at 2pm)...


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## dmg

Today:

Fort Worth Symphony Orchestra
Conductor: Josep Caballé-Domenech
Cello: Jan Vogler

Kodály: Dances of Galánta
Shostakovich: Cello Concerto No. 1 in E-flat Major, Op. 107
Dvořák: Symphony No. 8 in G Major, Op. 88

Enjoyable, even though guest conductor Caballé-Domenech was quite possibly the noisiest conductor I've ever seen. FFFFFFSHHSSSSSSS and THSSSSHHHHHH (extremely violent inhaling and exhaling) along with the occasional stomping around. I got the feeling that the orchestra was receiving a nice shower. :lol:

Vogler performed the concerto quite well, though I had difficulty hearing over the orchestra at times during the first movement. Not sure if that's a result of my seating or what.

The Kodály piece was very fun.


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## Sid James

That looked like it was a great programme, dmg. I would love to hear some Kodaly done live...


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## bassClef

I'm sure there was a thread like this one exclusively for opera but I can't find it now. Anyway, I've been to dozens of classical concerts but I had my first experience of attending the opera last night when I saw Dvorak's *Rusalka *at the National Theatre in Prague. I've never been a huge fan of opera but was invited so went along with an open mind.

I have to say I enjoyed it very much. The singing style in opera has always been the factor that has put me off a bit, I find it overly dramatic, it doesn't sound too natural to my ears. But in a real performance I didn't even notice this at all. I was captivated by the story-line (it showed English surtitles), the imagery, and the melodies of course.

I didn't really appreciate reggae until I heard it live in the West Indies, perhaps it's the same with opera - you have to be there.


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## LordBlackudder

I'm looking forward Distant Worlds: music from Final Fantasy at Royal Albert Hall.

Also looking forward to Motoi Sakuraba and Nobuo Uematsu performing together.

And the VGO will be performing at the Boston Symphony Hall on April 1st 2011. In the 111 years of its history, this is the first time that video game music has been performed at the Symphony Hall.


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## Machiavel

I'm really looking forward for 27th of april.I'm going to see kent Nagano with the OSM and author and narrator david Suzuki. The programme is Beethoven all the way. Symphony 8,grosse fugue op 133 and symphony 6.


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## delallan

*Mozart's 255th. Celebration in Toronto*

Last night I went to Roy Thomson Hall in Toronto to take part in Toronto's celebration of Mozart's 255th. Birthday. Although the temperature out-of-doors was -20 (with windchill) the concert and the atmosphere were warm and inviting. The program:

Bernard Labadie, conductor (What a conductor!!)
Marie-Nicole Lemieux, contralto (The voice of an angel!)

Mozart: Symphony No. 21 in A major, K. 134

Mozart: "Venga pur Miacci e frema" from Mitridate, K. 87
Mozart: Ombra felice--io ti lascio, K. 255 
Mozart: "Voi che sapete" from Le nozze di Figaro, K. 492

Mozart: Symphony No. 33 in B-flat major, K. 319

Mozart: "Parto inerme, e non pavento" from La Betulia liberata, K. 118	
Mozart: "Son reo; l'error confesso" from Mitridate, K. 87	
Mozart: "Deh per questo istante solo" from La clemenza di Tito, K. 621


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## Sid James

Went to this one on Saturday night:

*Symphony in the Domain *(open air concert as part of the Sydney Festival)
*An evening with Shakespeare*

John Bell, compere/narrator
Sydney Philharmonia Choirs
Sydney Symphony Orchestra
Brett Weymark, conductor

Nicolai - The Merry Wives of Windsor, overture
Walton - Henry V, a Shakespeare Scenario, highlights
(interval)
Mendelssohn - A Midsummer Night's Dream, overture
Prokofiev - Three pieces from Romeo & Juliet
Tchaikovsky - 1812 Overture - with cannons & fireworks!

A freind & I went to this concert under the stars. The weather was great & we took some wine & soft drink to have while we heard the beautiful music. We really enjoyed John Bell's narration of Henry V. He used his natural voice, and was quite understated and to the point without being dry. The St. Crispin's Day speech is such a rousing piece of rhetoric, one of the greatest political speeches of all time ("We few, we happy few, we band of brothers..."). It was also great to be able to chat and air-conduct during the pieces without breaking protocol - this was an open air concert after all. The audience was in their thousands, we were sitting at the back, but we got a glimpse of the large screens and the sound from the speakers was excellent. To end, the traditional "encore," Tchaikovsky's stirring 1812, complete with all the effects. A very enjoyable evening all round, and my first open air concert in nearly 20 years (my friend had never been to one of these ever)...[/


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## Aramis

Today's concert was I went on violin played enjoyed.

It began with Mozart's Prague symphony. It was lovely to refresh memory of my early milestone in classical listening. Harnoncourt's CD was my early symphonic love but I didn't listen to it in... years. 

Then the tough stuff. Lutosławski's partita for violin and orchestra. No big deal. After that - encore. But how weird! Violinist (Roman Lasocki) showed his violin like he would want to say "stop applause, I'll play encore" but instead of it he talked like five minutes about Silesia being strong center of contemporary music and stuff. Then he introduced and played solo violin piece by no-idea-who but I'm waiting for review to appear so I will know what it was because it was nice. 

Intermission

And then Szymanowski's 1st violin concerto by young, 21 years old violinist. Aaaaaaaaaawesome. Aaaaaaaaaaaaaaaaaaaaaaaaaaaaaawesome. No, really. My first time haring it live and she had such beautiful tone and dress and stuff. I think I will post this performance in Szymanowski's thread after they will upload it.


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## Musicbox

^ who was the violinist?


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## Aramis

Which one? This from weird talking - Roman Lasocki, as I already wrote, the latter, young one was Małgorzata Wasiucionek.


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## the_emptier

Last week I saw Lang Lang in Portland. It was great! he played Bach partitas, a Schubert Sonata and, the reason why I cam, Chopins 12 etudes (op 25). it was outstanding!! i loved his interpretations especially for the chopin etudes, except the last one which I thought he took too fast, but i'm biased seeing how my favorite recording of it is by maurizio pollini. he did three encores, a short rachmaninov song, some other one i didn't recognize (i think it might be one a chinese one) and chopins 5th etude from op 10. great concert!! up next is Turandot! the third opera of my season package


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## tdc

Just saw an AMAZING show featuring cellist David Eggert and percussionist Lev Loftus perform the following:

Bartok - Mikrokosmos III Dance in 3/4
J.S. Bach Suite No. 5 for Solo Cello in C minor Bwv 1011 (arr. for Marimba by Lev Loftus)
Xenakis- Kottos for Cello Solo

-Intermission-

Xenakis-Rebonds I for Solo Percussion
J.S. Bach - Suite no.6 for Solo Cello in D Bwv 1012
D. Deutsch- Perpetuum for Cello and Percussion
Bartok-Mikrokosmos III Two-Part Study

Wow, great stuff, and amazing performances. (the Xenakis stuff was...just wow :lol


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## Chopin Wood

Just went to an incredible concert last weekend. Baltimore Symphony Orchestra played Rachmaninoff's 2nd Piano Concerto (Featuring Yuja Wang as pianist) and Bruckner's 6th Symphony. Both were conducted by Juanjo Mena). It was my first listening of the Bruckner, and even though it was quite long, i thoroughly enjoyed its "grandiose" style. Yuja Wang did an absolutely phenomenal job with the Rachmaninoff, playing quite expressively. To those who say Yuja Wang is just a machine manufactured for perfect piano playing without emotion (similar to the pubic's opinions about many chinese pianists), you are quite wrong.


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## Sid James

Went to this one on the weekend:
*Christ Church St Laurence, Sydney*
*Organ recital by Elke Voelker*
1892 Hill & Son Organ

Handel - Fireworks Music (trans. E. Power Biggs)
J. S. Bach - Air on the G string (trans. S. Karg-Elert); Fantasia & Fugue in G minor, BWV 1068
Brahms - Hungarian Dance No. 3 (trans. E. Voelker)
Mendelssohn - Prelude & Fugue in C minor, Op.37/1
Grieg - Anitra's Dance from Peer Gynt Suite (trans. E.H. Lemare)
Karg-Elert - Chorale-Improvisation "Nun danket alle Gott" Op. 65 No. 59
Vierne - (ii) Aria from Symphonie VI pour orgue Op. 59
Alain - Litanies

I enjoyed this recital by Elke Voelker, a leading German organist. I liked all of the items, especially the final two French ones. It was really interesting to hear transcriptions of well-known orchestral works...


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## Grosse Fugue

Recital with Joyce Didonato at that Folly Theater, Kansas City Missouri

Her hometown on her birthday. These links explain it better than I could. If you can go to a recital on this touryou really should

http://www.joycedidonato.com/2011/0...l-tour-capped-by-carnegie-hall-recital-debut/

http://www.kansascity.com/2011/02/13/2653360/concert-review-hometown-diva-joyce.html

http://kcmetropolis.org/issue/february-16-2011/article/joyce-didonato-kansas-city-s-valentine

http://www.playbillarts.com/features/article/8519.html

http://www.kcindependent.com/2011/02/review-joyce-didonato-on-the-harriman-jewell-series/

http://newyork.timeout.com/music-nightlife/classical-opera/942485/interview-joyce-didonato


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## emiellucifuge

Last Night:

Mahlers 3rd symphony by the Berliner with Simon Rattle. The real highlight for me was a song by Hugo Wolf which I had never heard of before - Elfenlied!


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## tdc

emiellucifuge said:


> Last Night:
> 
> Mahlers 3rd symphony by the Berliner with Simon Rattle. The real highlight for me was a song by Hugo Wolf which I had never heard of before - Elfenlied!


I'm not gonna lie. Im frikkin' jealous right now. :scold:


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## World Violist

I just got home from a performance of Mahler 1 by my university orchestra. Yes, I was in it, and yes, I reveled deeply the viola moment in the fourth movement. Absolutely one of the most exciting performances I've been in in a long time!


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## tdc

World Violist said:


> I just got home from a performance of Mahler 1 by my university orchestra. Yes, I was in it, and yes, I reveled deeply the viola moment in the fourth movement. Absolutely one of the most exciting performances I've been in in a long time!


Very cool. You just got to live out one of my musical dreams. :tiphat:


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## Sid James

Went to this one on Sunday afternoon here in Sydney's northern suburbs:

*Trioz "Vitebsk" tour*

Kathryn Selby, piano
Natsuko Yoshimoto, violin (as guest)
Emma Jane Murphy, cello

Program:

*Joseph Suk* - Elegie for piano, violin & cello,Op. 23 (1902)
*Aaron Copland* - Vitebsk, study on a Jewish Theme,for piano trio
*Claude Debussy* - Piano Trio, L.3
*Ludwig v. Beethoven* - Piano Trio in B flat major, Op.97 "Archduke"

& this one at Sydney Conservatorium on Monday evening:

*"Australian Portrait"*

Michael Duke saxophone
David Howie piano

Program
*Boyd* - Ganba for baritone saxophone and piano * 
*Smetanin* - If Stars Are Lit for alto saxophone and piano * 
*Hindson* - Repetepetition for soprano saxophone and piano * 
*Zadro* - X Suite for alto saxophone and piano #

* World premiere
# Australian premiere and 101 Compositions for 100 Years commission

I liked both of these recitals. A friend came along to the first one, and we both enjoyed it.

I like Trioz's recitals because they always include some things off the beaten track, as well as standard repertoire. We were familiar with the Debussy & Beethoven, but not the Suk or Copland. The Suk was a great opener, a quite dark and melancholic piece, dominated by the solo violin a bit. Debussy's only piano trio is from his younger years, but still has suggestions of those unique harmonies which would come later. It was first recorded only in 1984, and as the program notes show, it has a relaxed salon feel. Even the final movement marked appassionato doesn't take itself too seriously. The most surprising piece in the program was the Copland trio fragment. It had loud dissonant sections flanking some more lyrical melodic parts. Copland was influenced by Bloch in his use of Jewish sounding themes. This piece was written in 1929 and it used microtones and the two string players playing out of tune (deliberately) a bit like Ives before & Cage & Xenakis after. The ten minute piece really had a visceral impact on me. After the interval, we were treated to a superlative performance of the Beethoven "Archduke" trio, the king of piano trios. The playing was so good, it was of recording quality. I plan to go to more of Trioz's series this year, they are one of my favourite ensembles.

The saxophone-piano duos program at Sydney Conservatorium the following Monday evening was also excellent. All these pieces were very different from eachother (eg. using different kinds of saxes), but in common with the Copland above, the Smetanin & Zadro employed microtones. My favourite works on the program were the Boyd & Zadro, which were also the longest works. Boyd's work was based on her impressions of the Nullarbor Plain in South Australia, which is basically a desert. The work engaged with the history of that place, employing Aboriginal harmonies, sounds of the wind, and also briefly the clickety clack and whistle of the railway that goes through there. Sometimes the piano sounded like a brass instrument and the sax sounded like a piano. I liked the darkness of this piece, which mirrored how the Aboriginal people were driven out from the area by the building of the railway. They didn't know what it was, some of them thought it was some huge mythical beast. The piano part of Zadro's suite had a bit of the complexity of Carter, but the work sounded quite tonal despite some dissonances. The 8 movements were each miniature tone poems of different places or states of mind. I particularly liked "cauldron" which brought to mind the witche's dance in Berlioz's Symphonie Fantastique. Some interesting effects were used, such as blowing with the saxophone into the bowels of the grand piano to produce a creepy vibe and the saxophonist tapping the side of his instrument to make a percussive effect. I think that this work would benefit from the piano part becoming orchestrated. Even though I'm mainly a chamber fan it would be a lot of fun to hear this work as a saxophone concerto. The Smetanin and Hindson were short etudes. The Smetanin was a bit uncomfortable to hear, much dissonance and high pitched sounds from the sax. It was based on the spectral analysis of a recording made by the Russian poet Mayakovsky, about whom Smetanin has also written an opera. The Hindson was typical of his style - light, airy and full of vigorous dance rhythms. The music of Ross Edwards was an influence here, according to Hindson's notes. It was great to hear the music of living Australian composers of this calibre & three of them were present to acknowledge the applause. Before I went to the recital, I thought it would sound a bit like jazz because of the use of the solo saxes, but on the whole, it was very much classical...


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## Ivan_cro

Two days ago, on Saturday, I went on *Ivo Pogorelić*'s recital, in Zagreb, Vatroslav Lisinski concert hall.
After eight years Pogorelić had a recital in his homeland, with the following program:

*F.Chopin: Piano sonata op. 35, b-flat minor

F.Liszt: Mephisto waltz no. 1

F.Chopin: Nocturne c-minor op. 48 no. 1

F.Liszt: Piano sonata b-minor S. 178*

This is first time I watched him live.I'm not sure whether I like his interpretation of this works, but I must say he is a true genius!
He can play whatever he wants, his abilities are wonderful, but he is, for me, a bit too free in his interpretation.I liked Chopin's sonata, it was very good, especially the last movement, he play it perfectly (a very short, yet exciting movement).
As for Mephisto waltz, I didn't like it, because Pogorelić (that's the correct spelling!) played it too rough and hard for my style.I had a feeling he is a very sad man, due to the mere program he played, very depressing pieces, without any joy.I suppose it has something to do with his sorrow for his deceased wife.

I am still very young, so I can't say a lot, but I am sure very glad to have seen such a great pianist live.It is a great experience for me, hopefully, a future pianist. 

I am sorry if I made any grammar mistakes, my English is good, but not perfect!


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## World Violist

I was at the Cincinnati Symphony the other night for a remarkable Brahms-centered concert conducted by Louis Langree (director of the Mostly Mozart program). The program opened with the Tragic Overture, followed by Schumann's cello concerto, then after intermission was the Brahms 1st symphony. The first half I thought was rather odd; I felt that the orchestra wasn't quite giving Langree what he wanted (he being a very charismatic, enthusiastic conductor and the Cincinnati Symphony having become rather homogeneous and--dare I say--boring in sound), especially in the overture. Jian Wang was the soloist in the cello concerto, and he was very good, but I felt there was nothing outstanding overall, except for a gorgeous middle movement.

The symphony, though, found the orchestra inspired. The second movement especially had that sort of incandescence that doesn't happen often, the violin solo particularly having a shimmering, ethereal quality that floated over everything else. The symphony as a whole was blazing--by the end of the finale I was wondering what had happened to Paavo's luxury vehicle of an orchestra; it had lost no precision, but it had a burnished clarity I was sure I had never heard before. The ovation lasted a long time and the orchestra refused to stand after Langree came out for about the fourth time.


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## mmsbls

World Violist said:


> I just got home from a performance of Mahler 1 by my university orchestra. Yes, I was in it, and yes, I reveled deeply the viola moment in the fourth movement. Absolutely one of the most exciting performances I've been in in a long time!


I saw my daughter play Mahler 1 with her university orchestra on Tuesday. It was the largest (both in length and number of performers) performance ever by that orchestra. Obviously, it was not a great performance; nevertheless, I was captivated. The first two movements seemed to fly by.

They played Shostakovich's 1st violin concerto (lovely 3rd movement) and some Brahms Hungarian Dances (always fun).


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## adore

Munich ,Germany. World is a playground. 
http://tinypic.com/r/23makqc/7


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## Sid James

Cocktail Hour, Sydney Conservatorium of Music - *Schubertiade* (6.00pm)

28 March 2011

Perfomers

*Goetz Richter* violin
*Jeanell Carrigan* piano

Program
*Schubert* 
Sonatina in A Minor, D384 (1816)
Duo Sonata in A Major, op. 162, D574 (1817)
Fantasia in C Major, D934 (1827)

This recital was of three of Schubert's works for violin and piano. Violinist Goetz Richter explained the background of some of these works. Some critics of Schubert's time complained of the length of his pieces, the number of repeats & modulations, and said they were long-winded. One critic actually left halfway through the premiere of the Duo Sonata! In contrast to this, Schumann praised the "heavenly length" of Schubert's music. This made me wonder whether if the 8th "Unfinished" symphony would have been completed - all four movements - would it be as popular as it is today, or would it attract similar accustations of long windedness? Some people, even today, don't like the 9th "Great" symphony for similar reasons. The first piece in the recital, the Sonatina was published as such (and not as a sonata) in order to encourage amateur violinists to take up the work. This was quite a light work, in a more classical era kind of style. The Duo Sonata (also called the Grand Duo) was a longer work, in four movements. This was the only work on the program that I knew, I have it on disc, and I think they played it brilliantly here. The final work, the Fantasia, is a late work and seemed slightly darker than the other two. It was in four connected movements. The theme and variations had many repeats indeed, it was very intricate and involved. I particularly liked the energetic finale, a lot of vigorous bowing there. A thing I like about Schubert's chamber music is that he doesn't favour one or the other instrument, he treats them as equals. I liked this pair of performers (both lecture at the Sydney Conservatorium), I saw them last year perform three French violin sonatas, and the Schubert program was equally interesting and varied...


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## Peanut11

*Anyone know a good classical music events guide??*

Anyone know a good classical music events guide??


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## Ivan_cro

Vartoslav Lisinski concert hall, Zagreb
March 2nd, 2011

Ante Knešaurek and Pavao Mašić
Majstori orgulja (Organ masters)

J.S.Bach: 1.Toccata, adagio and fugue in C major, BWV 564
2.Wachet auf, ruft uns die Stimme, BWV 645
3.Ich ruf' zu dir, Herr Jesu Christ, BWV 639
4.Erbarm' dich mein, Herre Gott, BWV 721
5.Toccata in F major, BWV 540/1


1.Toccata and fugue in d minor, BWV 565
2.Fugue in G major, BWV 577
3.Schmücke dich, o liebe Seele, BWV 654
4.Fantasie i fugue in g minor, BWV 542
5.Improvisation on B-A-C-H

Two Croatian organists, both teachers on Zagreb Music academy, played some of the best known and most popular Bach organ pieces.A wonderful concert, great interpretation, and also a great instrument.Organ was built in 1973.
This is a part of their project in which they'll play all Bach's organ music.This was, I think 7th out of 11 concerts.


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## Almaviva

I'll be attending tonight:

Saint Petersburg Philharmonic Orchestra

RIMSKY-KORSAKOV. The Great Russian Easter Overture
SHOSTAKOVICH. Cello concerto No. 1 
BRAHMS. Symphony No. 4
Conductor - Yuri Temirkanov 
Soloist - Alisa WEILERSTEIN cello


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## Sid James

Just returned from this concert:

*Sydney Conservatorium of Music Conductors' Series - Moderne revisited - Modern Music Ensemble (6.00pm)*

8 April 2011

Perfomers

*Modern Music Ensemble
Daryl Pratt director*

*Steve Reich* (b. 1936) - Vermont Counterpoint for eleven flutes (three each of flutes, alto flutes, piccolos & solo part)
Faeron Pileggi, solo flute, alto flute and piccolo/SCM Flute Choir

*Haflioi Hallgrimsson* (b. 1941) - 'Sonnambulo' Concerto for Double Bass & Chamber Orchestra, Op. 42
Maxime Bibeau, bass soloist

*Karlheinz Stockhausen* (1928-2007) - From 'Tierkreis' (Aries - Taurus - Gemini - Leo - Aquarius - Pisces - Aries (reprise))
Jacob Abela, piano/Ivan Cheng, clarinet

*Stephen Montague* (b. 1943) - At The White Edge of Phrygia, for chamber orchestra with three percussionists and piano

This was a very interesting and enjoyable concert. The two pieces I know (& have on disc) were the Reich & Stockhausen; I had not heard any of the music of the other two composers. Reich's _Vermont Counterpoint _would be known to many here. It is an exhuberant and bouncy work. Here it was performed fully 'live,' there were no recorded elements.

The Hallgrimsson _Concerto for Double Bass _included prominent parts for one keyboardist, playing piano and celesta. The central cadenza had an interplay between the soloist, going through the whole gamut of the double bass' range, and the keyboardist. The nocturnal world and delicate colours of this piece reminded me a bit of Dutilleux's string concertos. The theme at the beginning - which sounded a bit new age - eventually came back at the end. Hallgrimsson is a prominent Icelandic composer.

After the interval, selections from Stockhausen's _Tierkreis_, here for two players who were decked out in golden costumes. The clarinetist played while moving to choreographed movements, taking in the whole of the stage. At times, the clarinet was held high when he was playing the high notes, and held low when playing the low notes. This is quite a fun piece which is best experienced live (I also saw it last year in an arrangement for four players playing a plethora of instruments).

The 'discovery' of the night for me was the Montague piece. The notes by the composer say that "the title refers to the use of "white sound" as well as the Phrygian scale or mode: e to e on the keyboard without any sharps or flats." "Stylistically, the work has been called 'post-minimalist', since it is a fusion of both American minimalism and the European symphonic tradition." The repetitiveness of this work reminded me a bit of Ravel's _Bolero_, but unlike that work which simply goes from soft to loud, this work was more organic. It had a sense of ebb and flow, like watching waves come in and go out at the seashore. The three percussionists played a variety of instruments - from the usual things like bass drum, high-hat, xylophone, marimba, wood-blocks, tam tams, triangle to less familiar instruments like maraccas and even a set of paint tins! The rhythmic propulsion created by this tightly woven ensemble reminded me very much of Harry Partch's music. Finally the delicate "white noise" in the piece - eg. the use of the prepared piano, string players playing on the wrong side of the bridge to create an almost silent mechanical sound (& also hitting the strings with sticks), the use of muted brass, and the blowing of air through the wind instruments - all had an effect similar to that of a piece I saw in 2009 by Australian composer Brett Dean. By the end of the piece, the objects were taken out of the piano, the mutes were taken out of the brass, and the strings were played normally with a bow, so the dynamic level was gradually raised. I so enjoyed this piece that I'll have to investigate what things I can get from this composer on disc. It's the first time I have heard this 'post-minimalist' music, which I've only read about before. All in all this was a fantastic concert, showcasing the talent and hard work of these students and the mentoring of their conductor, Sydney Conservatorium senior lecturer Daryl Pratt...


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## Ivan_cro

April 4th 2011
Vatroslav Lisinski concert hall, Zagreb

PLAY & PRAY FOR JAPAN

*ZAGREB PHILHARMONIC 
Academic choir Ivan Goran Kovačić
UROŠ LAJOVIC, conductor*

*Johannes Brahms: Tragic overture, op. 81
Tin Ujević: Pobratimstvo lica u svemiru
Ludwig van Beethoven: 5. simphony in c-minor, op. 67
Ivan pl. Zajc: Nikola Šubić Zrinjski - U boj, u boj*

A humanitarian concert for Japan was held last Monday here in Zagreb.
It is always nice to hear Beethoven, especially his 5th symphony, one of my favourites.

It was the first time I heard Brahms's Tragic overture, and I liked it a lot, Brahms is wonderful!

Pobratimstvo lica u svemiru (Brotherhood of people in the universe) is a poem by Croatian author Tin Ujević.It was recited by Goran Matović, an actor.Main idea of this poem is: "Do not be afraid, you are not alone", a great message for Japanese people.

The last piece they played was finale from the Nikola Šubić Zrinski opera composed by Ivan pl. Zajc, Croatian romantic composer. U boj, u boj literary means "To fight, to fight!".This opera is a story of the battle of Siget, where a small group of Croatian soldiers fought for days against a great Turkish army.Because they had no supplies left, Croatian soldiers decided to go out of the castle and confront the Turkish army.Although they lost, the Turkish sultan Suleiman the Magnificent died in battle along many of his soldiers.This somewhat a Croatian Thermophiles.The battle was fought in 1566 in Siget, today's Hungary."U boj, u boj" is nowdays a very popular among Croatians, especially during the war in Croatia, but also our football (and other sports) fans use it very often. Ivan pl. Zajc used it in the last act of his opera Nikola Šubić Zrinski. Nikola was a Croatian ban (a honored title, something like a duke), who led Croatian army in the Siget battle.

A video from youtube:


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## Ivan_cro

26th Zagreb Biennale
Festival of contemporary music
7 - 14 April 2011

April 7th 2011
Vatroslav Lisinski concert hall, Zagreb

This year we celebrate 50 years since Biennale was founded by Croatian composer Milko Kelemen.
I went so far on two concerts in this years' biennale.

*Choir and Orchestra of Music Academy of Zagreb University
Mladen Tarbuk, conductor
Jelena Pavić, piano

Ivo Malec: Sigma
Ivo Malec: Pokreti u boji
Milko Kelemen: Piano concerto

Igor Stravinski: Symphony of psalms*

First two pieces are pretty avangard compositions of Croatian composer Ivo Malec, one of the co-founders of the festival.Interesting, but a bit too much for my ears.

The piano concerto was, as opposed to previous, was not only interesting but also beautiful.Composed by the founder of the Biennale, Milko Kelemen.
The soloist was a student of the Music Academy, and she had a decent performance, I can say only the best for her.
In the second part the choir sang Stravinski's Symphony of psalms, which I find also very nice.Stravinski was a pleasant surprise, because I heard a lot about him, and it was not nice 

Second concert
April 9 2011
Vatroslav Lisinski concert hall, Zagreb

*Orchestra of the Verona Arena foundation
Marko Letonja, conductor
Günther Sanin, violin
Aldo Orvieto, piano
Biao Li, percussion

Luciano Berio: Requies for orchestra
Carlo Galante: Violin concerto, Yeliel
Bruno Maderna: Piano concerto
Giampaolo Coral: Requiem for the World Trade Centre for orchestra
Berislav Šipuš: In the proximity of the planet Coral for percussion and orchestra*

Interesting program, contemporary music, of course.
I liked every piece they played, because they are very interesting and "not so unlistenable" if you know what I mean 
The first piece was a bit boring for my taste, but the others were very good, especially the last one, for percussion.


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## Sid James

Just went to this one at Sydney Conservatorium last night:

*Cocktail Hour - A Glorious Spanish Feast (7.30pm)*

11 April 2011

Faculty and their guests present a program of chamber music concerts featuring repertoire that ranges from baroque to contemporary music.

*Perfomers
Georg Pedersen cello
Natalia Sheludiakova piano*

*G. Cassado *(1897-1966)
Suite for Cello Solo
Prelude - Fantasia
Sardana - Danza
Intermezzo e Danze Finale

*M. de Falla* (1876-1946)
Popular Spanish Suite (transc. cello & piano)
El Pano Moruno
Nana
Cancion
Polo
Asturiana
Jota

*E. Granados* (1867-1916)
Spanish Dance No. 5 - Andaluza (Playera) from 12 Spanish Dances (transc. cello & piano)

*P. de Sarasate* (1844-1908)
Zapateado (transc. cello & piano)

*M. de Falla*
Ritual Fire Dance (transc. cello & piano by Gregor Piatigorsky)

The recital opened with a solo cello work & the rest of the pieces were transcriptions for cello & paino. I had not heard anything by Cassado before, but I was familiar with the other pieces in other shapes and forms. Cellist-composer Cassado's cello suite was a very imaginative piece which often had an improvisatory feel. I particularly liked the last movement which had a bit of plucking (like with a guitar) and harmonies that reminded me of a troubadour song from the middle ages. de Falla's famous set of _Seven Popular Spanish Songs_ - from which we heard six (not all of them were transcribed) has a very earthy feel, employing elements of Spanish folk music like flamenco. Granados is one of my favourite Spanish composers and this the 5th of his _Spanish Dances_ is the most famous. It's my favourite & cellist Georg Pederson said it was his favourite as well. Compared to the more vigorous and dissonant de Falla, the Granados sounded more refined and restrained, but still just as emotional in other ways. About the Sarasate, a fun flashy piece, Pedersen jokingly introduced it as "Now I'll attempt to play a piece originally for violin with my cello. I might end up enjoying it much more than you!" This piece left everyone with a smile on their face. Then to finish up, an encore of de Falla's famous _Ritual Fire Dance_, transcribed by Pedersen's teacher, the great Russian cellist Gregor Piatigorsky. The piece lost none of it's intensity in this chamber version.

All in all, this was a great recital. The audience was made up of all ages, from children aged 6 accompanied by their parents to adults of all ages. It's good to go to a more mixed recital like this, as often I go to concerts where I am lost in a sea of grey heads. I look forward to going to more recitals by this excellent cellist, who gives quite a few throughout the year at the Sydney Con, of which he is a senior lecturer. His accompanist on the piano Natalia Sheludiakova also did a great job...


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## Ravellian

Yesterday I performed two piano pieces in a composer's concert. It was a composition majors' graduation recital, all new music. One of the pieces I played had a feel of perpetual movement and unresolved harmonies that reminded me of Scriabin; I liked it very much. The other was much more conventional.


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## Sid James

Went to this last Saturday night:

*Australia Ensemble @ University of New South Wales*

Saturday April 16, 8pm

Sir John Clancy Auditorium UNSW

*Theatre in Music: Surrealist Dreams and Sydney Harbour Anecdotes*

Johann *STRAUSS Jr *(1825-1899): Emperor Waltz (Kaiser-Walzer), Opus 437 for flute, clarinet, string quartet and piano (1889/1925)

Barry *CONYNGHAM* (b 1944): Showboat Kalang for flute, clarinet, piano, two violins, viola, cello - commissioned by the Albert H. Maggs Foundation for performance by the Australia Ensemble @UNSW (2010)

Arnold *SCHOENBERG* (1874-1951): Pierrot Lunaire for reciter-singer, flute/ piccolo, clarinet/ bass clarinet, violin/viola, cello, voice, piano (1912)

A friend and I went to this concert, with a multimedia aspect (dance & visuals) & we enjoyed it. The choreographer/dancer in the Conyngham & Schoenberg was Connor Dowling, from the Sydney Dance Company. The reciter-singer in the Schoenberg was Fiona Campbell (mezzo soprano) from the Australian Opera.

Strauss' Emperor Waltz, in an arrangement attributed to Schoenberg, was not quite what I expected. I had only heard Strauss' original work for orchestra before. This arrangment was not run of the mill or chliched by any means. I liked how there were solos for each instrument.

Barry Conyngham is a fairly prominent Australian composer in his sixties. He studied with fellow Australian Peter Sculthorpe and the Japanese composer Toru Takemitsu. Like their work, Conygham's music is of a late c20th modern/experimental style. This work was about the history of the Showboat Kalang, a vessel which plied the waters of Sydney harbour from the 1930's to 1960's. The composer's father worked as a banjo player in the dance bands that played on this vessel. The boat was also refitted for war service in Papua New Guinea and Borneo during WW2. Then it came back to Sydney to be a pleasure boat again, but was eventually broken up and ended it's "life" in 1972. This was an interesting piece, that changed mood and style to fit in with what the particular scene was about. It was a journey through Australian history from 1938 to the present. The most dissonant and loud part was in the 1942 scene, when Japanese midget submarines came into Sydney harbour and torpedoed another boat. I remember seeing these actual subs, which were salvaged from the harbour after being attacked & sunk, in an exhibition at the Sydney Maritime Museum on a high school excursion. The music of some others scenes echoed the music that would have been played on the Kalang - eg. the foxtrot and waltz. At the very begining and end of the piece, there was a recording of banjo music from the 1930's. This was an interesting piece, bought to life by the lighting and dancing.

Schoenberg's seminal Pierrot Lunaire was also brought to life by the dancer. I thought that the middle section describing the 'atrocities' was the darkest rendition of this I had ever heard. Perhaps it was because I'm familiar with recordings of it sung by sopranos, but here the voice was deeper and darker, more mysterious (mezzo-soprano). I had listened to the recordings a lot during the past fortnight, so I was so familiar with the piece, that I anticipated most of what happened. The dancer was in a clown outfit, black chequered tights and white painted face, with a black robe that was used to interesting effect. There was one flicker of colour, a red ribbon which appeared and disappeared quickly during the pivotal 'atrocity' scene. There are a lot of references to blood and gore in the text, which was projected in English translation on a screen.

All up this was a very enjoyable evening. Even though I was quite tired after a busy day, I decided to go. These performances aren't repeated, it's just the one night. The friend and I plan to go to their next one next month, which will be a conventional concert of works by Liszt, Richard Meale & Beethoven (the great string quartet Op. 132)...


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## Sid James

Just came back from a lecture/recital about Liszt's music by pianist Dr Leslie Howard at Sydney Conservatorium (it was free).

Dr Howard is a pianist specialising in Liszt, who has recently finished recording the composer's entire piano output on 99 discs. He's middle aged with thick greying hair & a neutral British accent. He spoke clearly and engagingly (without notes) for an hour about Liszt's life and work, illustrating his lecture with two pieces. After a break during which the audience had a complimentary drink and some nibblies, Dr Howard treated us to a recital of more of Liszt's works. There were no programs given out, he just announced the pieces & talked about them in depth from the stage. So if the titles I wrote below are incomplete or whatever, please forgive me, because a number of them were announced in languages other than English.

I really enjoyed both the lecture and the recital. Dr Howard was like a limitless fountain of knowledge about this fascinating composer. I took notes during his lecture, and I'll probably put them on my blog by the end of next week. I would describe his playing as quite pumped but restrained at the same time - a bit like the contradictory character of Liszt. Dr Howard knew how to let things rip with a frenzy, but he also made the calmer and more lyrical moments very interesting. He played without music (except the second piece below), and he had a studious gaze, his head looking down at the keyboard during his playing.

Pieces played during lecture:

- A piece composed at age 21, later revised and incorporated into the set of pieces called _Harmonies Poétiques Et Religieuses _(1850's)

- Piano version of the "Calming of the Storm at Sea" from Part 2 of the oratorio _Christus_ (This was a very dramatic piece, the very vivid storm came first, then the calm which had harmonies not far away from Debussy or even Messiaen)

The recital:

- _Grand Concert Solo _(1849), composed as a test piece for the Paris Conservatoire (Dr Howard played the 1851 version) (a percursor to the Sonata in B minor, which in some ways it was similar to - Dr Howard described this work as "kind of like a sonata but not a sonata.")

- _Variations for piano on a motif from Weinen, Klagen, Sorgen, Zagen _(from J. S. Bach's Cantata BWV 12), written in memory of Liszt's first daughter Blandine who died aged 26 while giving birth (this piece showed Liszt's mastery of counterpoint & his concept of thematic transformation)

- _Sarabande and Chaconne on theme from the opera Almira by Handel _(1879) (my favourite piece of the set - it was like hearing a work composed by Handel imagining that he was Liszt! A beautifully balanced and imaginative piece. The last half had these rapid rippling figures that reminded me of Debussy's watery pieces allied with a song-like lyricism that sounded similar to Schubert)

- Nocturne on a Polonaise by Chopin (Dr Howard announced this in French, this my attempt of writing the title in English!) (Liszt & Chopin admired eachother immensely - Chopin dedicated his Etudes to LIszt. Liszt's nocturne sounded less melancholic to my ears than those of Chopin, it had a kind of sweetness and lightness)


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## Vaneyes

What a marvelous opportunity, Andre. Thank you for the report. Did Dr. Howard talk about Liszt's personal life?


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## Sid James

Vaneyes said:


> What a marvelous opportunity, Andre. Thank you for the report. Did Dr. Howard talk about Liszt's personal life?


Thanks for reading, Vaneyes. To answer your question, if you mean "personal life" in terms of romantic attachments, Dr Howard only mentioned one of Liszt's wives, Marie d'Agoult but didn't go into any detail (I think she was his first wife?). On a somewhat related front, he did rattle off a list of Liszt's acquaintances, friends & admirers - both musical and non musical - but he was so rapid I couldn't note all of them down (they included names like Berlioz, Dumas, Delacroix, Chopin, Schumann, Hiller, Mendelssohn, Hummel, many prominent aristocrats & even the Pope!...). As I said, I'll post my notes of the lecture soon on my blog or maybe even create a seperate thread on it. Dr Howard's lecture only lasted about an hour, but talking to one of the audience members after, we both had the feeling that he could have easily gone on for another 5 hours and he still wouldn't have covered enough (& there wasn't a dull moment to be had). He is clearly not only an excellent musician but a very erudite and knowledgeable speaker, and that handy combination isn't always the case with our musicians...


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## Vaneyes

Andre said:


> Thanks for reading, Vaneyes. To answer your question, if you mean "personal life" in terms of romantic attachments, Dr Howard only mentioned one of Liszt's wives, Marie d'Agoult but didn't go into any detail (I think she was his first wife?). On a somewhat related front, he did rattle off a list of Liszt's acquaintances, friends & admirers - both musical and non musical - but he was so rapid I couldn't note all of them down (they included names like Berlioz, Dumas, Delacroix, Chopin, Schumann, Hiller, Mendelssohn, Hummel, many prominent aristocrats & even the Pope!...). As I said, I'll post my notes of the lecture soon on my blog or maybe even create a seperate thread on it. Dr Howard's lecture only lasted about an hour, but talking to one of the audience members after, we both had the feeling that he could have easily gone on for another 5 hours and he still wouldn't have covered enough (& there wasn't a dull moment to be had). He is clearly not only an excellent musician but a very erudite and knowledgeable speaker, and that handy combination isn't always the case with our musicians...


 Probably his "one love", Marie, with whom he had three children...but no ring. One child died, one became a Wagner. A long trail of conquests, maybe of Tiger Woods proportion. Years later, when briefly meeting Marie for the last time, he uttered something lame like, "God bless you. Think well of me."


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## Sid James

Last night I went to the recital by pianist *Daniel Herscovitch * at Sydney Conservatorium of Music. The program was titled "Ancient to Modern" -

*Chopin* - Sonata No. 2 in B-flat minor, Op. 35 (1839)

*Stravinsky* - Sonata (1924)

*Graham Hair* (b. 1941) - Three Transcendental Etudes on Themes from Australian Poets (from set of 12)
- Snatched Voices (Poet - Rosemary Dobson)
- Naming the Stars (Poet - Judith Wright)
- Wild Cherries and Honeycomb (Poet - John Shore Nielsen)

*E. Carter* (b. 1908) - Two Thoughts About the Piano (2005)
- Intermittences
- Catenaires

Encore - *A. Webern* - Children's Piece (1924)

I'd never heard any of these pieces before, and I hadn't heard any of the music of Graham Hair. The pianist Daniel Herscovitch (a faculty member at Sydney Conservatorium) talked in some depth about the pieces before playing them. His title for the recital "Ancient to Modern," was just a bit of fun, he said. Chopin's music can't really be described as "ancient," although maybe Eliot Carter who is now aged 102 can be!

The Chopin 2nd sonata was a great opener and my favourite piece of the evening. Daniel said that it's still a somewhat controversial work, some leading Chopin pianists refuse to play it. The 3rd movement, the famous Funeral March, was written first in 1837, the rest of the work came in 1839. Daniel outlined some interesting aspects of this work. The second & third movements have no tempo markings. There are three possible places to put repeats in the first movement, but Chopin didn't specify where. Having listened to this work, I can now somewhat understand why Schumann criticised it for lacking cohesion. But at the same time, this can be a "plus" as each of the movements are like worlds within themselves. The 1st movement was really pumped - ideas just tumbled out, one after the other. I'm pretty amazed at how Chopin could get these many ideas down on the page. The first theme of the 2nd movement (scherzo) reminded me a bit of the witche's sabbath part of Berlioz's Symphonie Fantastique. It was pretty macabre and dark. This was followed by a longer lyrical and calmer section which struck me as being full of hope. Then the first theme reappeared, more intensely, but the quieter theme had the final word. The 3rd movement started with the famous funeral march theme (or intro?), but the other idea was more lyrical and poetic. The finale (4th movt) was over in a flash - it lasted only about 2-3 minutes. Liszt said this made him think of winds blowing over graves, Chopin said he meant it like mourners chatting after the funeral. To me, this sounded like a frenzied and hair-raising take on Bachian counterpoint. Despite there not being any crossing of hands in this work (unlike the other works played later), it still looked and sounded quite difficult to play.

Stravinsky's much shorter sonata (Daniel described it as more like a sonatina) came across to me to be the complete antithesis of the Chopin. This was quite light and bouncy, the world of Les Six was not far away. The counterpoint again sounded like it was influenced by Bach, the piano was played almost as daintily as a harpsichord. But the jerky & more changeable rhythmic patterns could be by no-one else but Stravinsky.

Then the only Australian composer on the program, Graham Hair. He was director of this very institution, the Sydney Con, during the 1980's, but now he is working in academia in Glasgow, Scotland. These three works come from a recent series of studies inspired by Australian poetry. The 1st and 3rd pieces reminded me of the tangled and complex piano works of Ives and Ligeti. They were pretty intense, with runs up and down the keyboard, and they looked devlishly difficult to play. The middle one was slow and calm, it had a kind of celestial quality as Daniel said, and it kind of reminded me of Takemitsu.

Then Carter's Two Thoughts About the Piano, which looked no less difficult than the Hair. They were also inspired by literature - the first one on Marcel Proust. These started off as two seperate pieces, which Carter joined together later. They were composed in 2005 when Carter was 97 years old. These pieces were studies in constantly changing dynamics, rhythm, and harmonics. The first piece was slower overall, it had many silences, and the second one was helter skelter. It was described by the composer as being like "a fast one line piece without any chords." Daniel said that he met Carter a few months ago, and thought that though he looked pretty frail, his mind is "still sharp as a tack." Carter was then writing a song-cycle on the words of T.S. Elliot.

As an encore, Daniel played a short one minute piece by Webern that looked much simpler to play than the other pieces. It was written in the same year as the Stravinsky sonata, but totally different.

I was sitting next to a group of women who, it turns out, were friends of Daniel. I got talking to one of them about American composers in particular, and I mentioned Copland. She said that she showed Copland around Sydney when he visited (I didn't find out when, but she said it was in his older years). She said he had a liking for French cuisine, so she took him to a French restaurant in Kings Cross. This was an interesting conversation, particularly because I didn't know that Copland had ever come here. We both agreed that the turnout to this brilliant recital was pretty abysmal - the hall seats around 100 and I'd say there were less than 50 audience members in attendance. On a positive note, the women took me backstage to meet Daniel, which I did. I briefly spoke to him thanking him for his performance. I asked him whether the Graham Hair pieces were as difficult to play as something by Ligeti, but he said that Ligeti was much harder. But I told him that I was watching his hands, particularly in the Hair & Carter pieces, and what he was doing looked like it was near impossible to me.

All up, this was one of the best piano recitals I remember going to. Both the playing and the music were excellent and interesting. I look forward to seeing Daniel play at any other time that he does so in the future...


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## HarpsichordConcerto

Sounds insteresting, that you went backstage to meet the key performer and all that. (I've done that a few times before during the concerts I attended mainly to get a few autographs but didn't engage much in conversation with them).


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## Sid James

Thanks for reading. Yeah, well the thing I like about these "Cocktail Hour" recitals at the Sydney Con is that they're quite low key. Audience members are pretty welcome to go backstage - well, it's really a big room between the two small rectial halls - & meet the musician/s. I'm quite a shy person, so I don't usually do this, but Daniel's friends at his recital really encouraged me to meet him, so I did. There have also been a few ocassions when composers were present & I could have approached them after the recital, but I didn't. I also like that many times, the performers talk about & give their impressions of the music before playing the pieces. It comes across as being more "real" than just reading printed program notes before the performance. You might cringe but I think we owe a part of this more "open" attitude to the violinist & bandleader Andre Rieu, whose concerts come across as being quite warm and friendly, even though his music is like  ...


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## Vaneyes

Maybe 200 plus years later, our modern day attempts at interaction ('open attitude')has brought us nearly full-circle. Well, we can hope. Truth is, for the big names such face-to-faces often require contacts or extra money. "Sorry sir, Maestro has a restricted list, " giving the you-gotta-be-kidding interloper an anti-terrorist glance.

Chopin Sonata 2, thatsa biggie. I don't know if I'd have the courage to hear an "unknown" play it, being that Pogorelich, Michelangeli, and Argerich are so imbedded. Now I'm acting like a gatekeeper myself, with that song of comeuppance.

Good report as usual, Andre.


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## Lunasong

I attended Bernstein's "Mass: A Theatre Piece for Singers, Players, and Dancers" last night in Dayton OH; presented by the Dayton Philharmonic Orchestra and Wright State University. The orchestra did the playing whilst the singers and dancers were cast from WSU's departments of Theatre, Dance, and Motion Pictures, and Music. It was terrific, especially since I'd went not quite knowing what to expect. It didn't seem dated at all (this year is the fortieth anniversary of the work's premiere at John F Kennedy Center for the Performing Arts). The brass section was seated stage left whilst the woodwinds were stage right; the balance of the orchestra was in the pit. The choir was stage rear. The theatrical performers filled the rest of the stage, including the use of vertical pieces and height. It really is a work, because of the visual element, that needs to be seen and not just heard.
"Mass" was conducted by Neal Gittleman, but required the collaboration of many groups and people (cast of 200) between the orchestra and university. The Celebrant was sung by John Wesley Wright. I hope you enjoy this video on how this presentation was brought together.


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## Sid James

Vaneyes said:


> Maybe 200 plus years later, our modern day attempts at interaction ('open attitude')has brought us nearly full-circle. Well, we can hope. Truth is, for the big names such face-to-faces often require contacts or extra money. "Sorry sir, Maestro has a restricted list, " giving the you-gotta-be-kidding interloper an anti-terrorist glance.


Yeah, well it's true, the "big names" often have no time for direct interaction with the audience. Especially if the performance is in a larger venue, which is usually the case with these elite performers. But I've found that in smaller non-mainstream venues musicians actually don't mind a bit of a chat with the audience. I was also at a performance by pianist Dejan Lazic who played with the Australian Chamber Orchestra at the Sydney Opera House in 2009 (Beethoven's 4th concerto, this performance is now on disc, but I wouldn't buy it as I wasn't to happy with Lazic's cadenzas, although his playing was excellent overall). During the interval, Lazic made himself available to sign his cd's. I didn't meet him, but at least this kind of thing is happening even in the bigger venues here, which is at least something.



> Chopin Sonata 2, thatsa biggie. I don't know if I'd have the courage to hear an "unknown" play it, being that Pogorelich, Michelangeli, and Argerich are so imbedded. Now I'm acting like a gatekeeper myself, with that song of comeuppance.


Well I hadn't heard Chopin's 2nd sonata before, so I had little or no preconceptions. The only sonata I have on disc by Chopin is his 3rd, which is an entirely different beast, it's so different to the 2nd that it could almost be by another composer. Over my 20 plus years of classical listening (on & off), I've only skimmed the surface with Chopin & maybe that lack of familiarity is a good thing. Whatever I've heard by him - like those two sonatas, or the nocturnes, ballades, waltzes - has come across as quite fresh to me & not as cliched as I would have thought, them being mainstream pieces & all...

@ Lunasong:

You must be new here, welcome to the forum, btw. That live performance of Bernstein's Mass sounded like the real deal. I've heard the Naxos recording & it sounded like an interesting work. Unconventional to say the least, but I love unconventional things like that. As you say, it's a work with a strong theatrical element, so ideally it has to be seen as well as heard. This is a bit like Harry Partch's music, which combines mime, dance, lighting, costumes, & of course music - both instrumental and vocal - the whole box and dice. Hearing the recording is like getting 50 cents out of the dollar, at best. These kinds of works were composed (or really designed) as "total art" experiences, much like Wagner's operas...


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## Sid James

Went to this concert with a friend last night:

*AUSTRALIA ENSEMBLE @ University of New South Wales, Sydney*
(Incorporating the Goldner String Quartet)
Dene Olding, first violin
Dimity Hall, second violin
Irina Morozova, viola
Julian Smiles, cello
Ian Munro, piano
Geoffrey Collins, flute
Catherine McCorkill, clarinet
Daryl Pratt, percussion; David Stanhope, conductor (both guests, in _Incredible Floridas _only)
(Prof. Roger Covell, director of programming)

*Ferenc (Franz) LISZT* (1811-1886)
- At Wagner's Grave (Am Grabe Richard Wagners) S202 for string quartet and piano (1883) - 200th anniversary of Liszt's birth

*Richard MEALE* (1932-2009)
- String Quartet No. 2 "Cantilena Pacifica" - 5th movement
- Incredible Floridas (Homage to Rimbaud) for flute/alto flute/piccolo, clarinet/bass clarinet, violin/viola, cello, piano and percussion (1971)

*Ludwig van BEETHOVEN* (1770-1827)
- String Quartet in A minor, Opus 132 (1825)

This was a great program which we both enjoyed. I knew the last two works from recordings, the first two were completely unknown to me.

The first two pieces were in memory of friends of the respective composers who had died. Liszt's piece was in memory of his friend and son in law Wagner. It was very brief and had a lightness which reminded both my friend and I of chamber music by Debussy and Ravel. I'm not sure who Australian composer Richard Meale dedicated _Cantilena Pacifia _to, but the violinist Dene Olding announced it from the stage and talked about it briefly (it wasn't in the program). Olding said that this group played this work at Meale's funeral service in 2009. It had a flowing and sinuous violin solo backed up by gentle repetitive waves from the other strings. It kind of reminded me of Philip Glass' _Facades_. These two works were poignant for my friend, as the day before was the anniversary of his brother's death in an accident 6 years ago. He said it bought back the memories.

Then a longer half hour piece by Meale, from his earlier avant-garde phase (like Penderecki, Meale went tonal after initially being more experimental). _Incredible Floridas _is a sextet that was written in 1971 to mark the 100th anniversary of French visionary poet Arthur Rimbaud's poem "The Drunken Boat." This was quite a complex work, requiring a conductor and everyone except the pianist to play multiple instruments. There's quite a bit of fragmentation in this work to begin with, the first movement dominated by a flute solo upon which much of the rest of the work is based. A lot of it was quite intense and percussive. The 4th movement is my favourite part, throughout it the piano plays this chord which kind of comes across to me something like Satie or Rachmaninov slowed down to the nth degree. Everything is suspended in time. In the 5th movement, the two string players each have a solo, the music moving towards their top registers, a bit like in Messiaen's _Quartet for the End of Time_. Funnily enough, these two solos kind of passed me by in the recording, which I'd listened to several times. The flute is always there, but it has a solo in the concluding 6th movement where the earlier fragmentary material is unified and more coherent. Like Rimbaud's poem, which is like both a physical and mental voyage (to where, who knows?), Meale's work has a dreamlike quality to it. It begins with the players quietly reciting sentences from the poem in French, and in the end it dissolves into nothingness. All of the players were soloists in their own right in this work. The music of Varese, Messiaen, Boulez and Takemitsu comes strongly to mind & as my friend pointed out, Balinese gamelan. _Incredible Floridas _is considered by many pundits to be Meale's masterwork, and I'd recommend it to anyone interested in c20th chamber music. Meale could very well be Australia's finest composer so far, not least because he had such a huge stylistic range. To see this work played live was a real treat. My friend has been familiar with Meale's opera _Voss_ since he got it on disc in the 1980's & I made this composer's acquaintance more recently.

After a nice cuppa & a bit of chocolate during the interval, we headed back to the auditorium to hear Beethoven's _String Quartet in A minor, Op. 132_. This work is just sublime, from the solemn opening theme that opens it, right through to concluding dance like movement which brings back that theme, totally changing it's mood. This is music at it's very best, it's most sublime and passionate. Words are not really adequate to describe this sort of thing. I was interested to read in the program notes that the harmonies of the pivotal third slow movement, the famous "Hymn of Thanksgiving," may well have been inspired by the music of Renaissance composer Palestrina. I'm not surprised by this, it definitely has the radiance and purity of Palestrina's style. I thought that the Goldner String Quartet played this work slower than what I've heard on recordings, but this was just a hunch (I didn't check the time, listening to music for me isn't a matter of doing things like that). It was a very detailed performance, full of nuance. I loved watching how they played those complex cross rhythms, it looked very very difficult. An odd thing that I noticed was that from left to right, it was the two violins, cello then viola. Usually the viola is before the cello. I don't know why they played in this order?

After the concert, we both headed to the city for a nightcap before calling it a night. We both enjoyed the concert & felt we got a lot out of it, and one couldn't really ask for more...


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## Sid James

Just went to this one on the weekend -

*Music In May - Macquarie University Sydney
Mahler Tribute (Family Concert)*
The Occasional Performing Sinfonia (TOPS)
Sally-Anne Russell, mezzo soprano - in all works (from Opera Australia)
Sarah Berkelman, soprano (in Humperdinck only)
Mal Hewitt, conductor (in Humperdinck & Mahler songs)
Steve Hillinger, conductor (in Mahler symphony)

*Humperdinck*
- Sandman's song, evening prayer & forest music (Hansel & Gretel, Act 2)
*Mahler* 
- Songs of a Wayfarer
- Symphony No. 4 in G major

TOPS is a Sydney-based orchestra that presents large symphonic works rarely tackled by amateur orchestras. TOPS plays in venues such as Sydney Town Hall and occasionally tours regional NSW. Last year they played a program which included Shostakovich's 5th symphony, which was excellent, and this year's Mahler 100th anniversary tribute was no less enjoyable. These are two of my favourite works by Mahler. A good friend of mine came along as well.

Neither my friend and I are greatly familiar with Humperdinck's music (the "original" Englebert Humperdinck, as conductor Mal Hewitt joked!). He was a major operatic and vocal composer at the end of the c19th, and _Hansel & Gretel _is his only big hit. He also assisted Wagner in the orchestration of his late operas, and Humperdinck's orchestration was very rich and Wagnerian indeed. The two vocalists sang this lovely song and left the stage, while the orchestra carried on and played a marvellous elaboration of the tunes. Soprano Sarah Berkelman is a high school student who is currently working in the Sydney production of the musical _Fame._ It was great to hear the blending of the soprano and mezzo soprano's voices.

Next was Mahler's set of four _Wayfarer Songs_, which is one of my favourite works by him. This work is pure genius and mezzo soprano Sally-Anne Russell gave a knockout performance. All emotions under the sun are encapsulated in this work, both in words and music. I especially like how Mahler wrote for the woodwinds. The last stanza of the final song titled "The Two Blue Eyes of my Beloved" is the part which just floors me every time, and this performance was no exception. The poet is reminiscing about his love and loss, sitting under a linden tree which "snowed its blossoms over me." This is captured by the music with this sense of floating tonality, time is suspended. I kind of hear Schubert in this as well. My words cannot adequately describe the very ending, so I'll simply give you the words "All, love and sorrow and world and dream!"

After a good cuppa at interval (what can be better than that, apart from the music?) we headed back to the 500 packed seater hall to hear Mahler's 4th symphony. This is my favourite of all of his symphonies which I'm familiar with, because for the most part, it is light and happy (though there are dark undertones and shadows there, but they quickly dissipate). I feel that the orchestra didn't get off the ground as much as they could have in the first two movements, but their performance of the last two were basically as good as any I've heard. Like the _Wayfarer Songs_, the slow movement contains so many emotions and contrasts. The two climaxes put me on the edge of tears, but the optimistic last movement with vocals "The heavenly life" cheered me up a bit. The song upon which the finale was based was written about a decade before Mahler began this symphony. The last movement came first, and formed the thematic basis of the whole work. It's no wonder that some scholars say this is his most unified and holistic symphony. This is a child's view of heaven, which is full of many delights, particularly food. There are the sounds of cattle and oxen, animals which will be sent to slaughter to provide a wholesome feast. As conductor Steve Hillinger said, a lot of the children in Mahler's time were malnourished, and he himself had a childhood of poverty, by today's Western standards anyway.

All in all, this concert was great, we both enjoyed it. The orchestra played with commitment and passion, adding refinement and balance in the last two movements of the symphony. The vocalists were excellent. There were many children at this family concert, who were not always quiet, but I was so absorbed in the music that I hardly noticed them. I may well go to a concert in September at Sydney Town Hall of this orchestra, who will be joined by combined Sydney choirs in a program featuring Carl Jenkins' music (another composer I'm unfamiliar with)...


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## HarpsichordConcerto

Interesting report there, Andre. I have never heard of The Occasional Performing Sinfonia and what a name that is.


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## Sid James

HarpsichordConcerto said:


> Interesting report there, Andre. I have never heard of The Occasional Performing Sinfonia and what a name that is.


I hadn't heard about them either, before I saw them last year at the same venue, Macquarie Uni. As I said, they played very well, both my friend & I enjoyed their performance. They are mainly amateur musicians with professional conductors and soloists. They do a few concerts per year in Sydney, and also a few in regional areas of our state...


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## kv466

Tapkaara said:


> I love going to concerts. Can't wait for the new season of the San Diego Symphony to get into full swing...!


Good stuff...I actually may be around to catch one as I'll be back and forth this year...I love that there is no more Florida Philharmonic (ugh) here and that we get great orchestras coming in from out of town on tour...great soloists and performances all the way!


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## Aramis

Just got back from Haydn's Theresienmesse (Mass in B flat major). OSOM. This rich classical counterpoint is what I love in choral music, no romantic equivalents by genre can match this beauty and unbeliveable craftmanship, it's long work but I wasn't tired at all, a true experience HMMMMMMMMMMM


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## HarpsichordConcerto

Aramis said:


> Just got back from Haydn's Theresienmesse (Mass in B flat major). OSOM. This rich classical counterpoint is what I love in choral music, no romantic equivalents by genre can match this beauty and unbeliveable craftmanship, it's long work but I wasn't tired at all, a true experience HMMMMMMMMMMM


Good. Now you need to explore the six other late masses that he wrote between 1796 and 1802. He wrote one mass each year to celebrate the name day of his employer's wife, which was one of his duties. _Theresienmesse_ was the third last.


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## Sid James

@ Aramis - Like you have, I have just discovered Haydn's choral niche & am looking forward tonight to hearing his great "Creation" live. He was expert at setting the texts with great feeling and emotion. He was one of the true optimists of the classical spectrum. Engaging, innovative, unique, joyful, beautiful beyond words and I could go on. This guy was amazing, his music simply "has it all"...

@ HC - I'm impressed - even inspired - by your detailed appreciation and knowledge of this repertoire in the older classical realm. Needless to say, I will be seeking your advice about this area, because I'm truly "hooked." Simply show the way, my friend, and I will gladly follow!...


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## Aramis

> He wrote one mass each year to celebrate the name day of his employer's wife, which was one of his duties


How silly.

But at least something great came out of it.


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## Sid James

This weekend, going to the two concerts below, was a revelation to me in bringing me the highest appreciation for music of the classical/baroque realm that I have had so far. It was my "road to Damascus." A few days after, I still feel like I'm in another universe, it's like I've had a massive "head trip." There have been many "signposts" leading to this breakthrough, some of them like hearing my friend's disc of Handel's _Messiah_ a number of years ago and attending a performance last year. Others have been kind of "left field" - I kind of started in more recent eras and went back - even works like Eliot Carter's 1st string quartet made me understand many relevant things about music in general which I applied later. But I think the most important was realising - as this friend has said, who also joined me for these two concerts - that composers are emotional people, they are innovators, they are visionaries. Many years after he first told this to me, these two concerts have made me realise that he was 110 per cent spot on all along.

I'll write about _The Creation _concert first, then the other one in my following post when I get the time later-

*Macquarie University Singers & Orchestra**
Haydn - The Creation* (Sung in ENGLISH)

I think the choir was like 200, but I'm guessing. Here are the vocal soloists and other important people:

Erika Simons, soprano
Marcus Bortolotti, tenor
Javier Vilarino, bass-baritone
Peter Ellis, assistant conductor (on harpsichord)
Joy Lachlere, rehearsal pianist (accompanist in preparation)
*Anthony Pasquill, conductor*

Haydn's _The Creation _is just about the highest level that I've reached into musical appreciation on all levels of the spectrum, but especially in understanding how composers shape emotions from the most basic materials. I have a quirky view - I don't think this is strictly just a sacred choral work. Being an oratorio, I see it as a fusion of many genres - in the opera, concerto, chamber, solo instrumental/vocal, art-song realms. I see it the same way as I see say Monteverdi's _Vespers_ or Mahler's symphonies. They are not restricted to just a small niche, they all "embrace the whole world" as Mahler said. I was able to connect with the "vibe" of this piece on many levels.

Compared to the recorded version I've heard on Naxos under Andreas Spering, the conductor on Saturday night, Anthony Pasquill had a very different take on this masterpiece. One of the big differences, I thought, was having the first two parts - the creation part - come out as more lyrical and kind of gentler - and then leaving more intensity and finality to the final third part, the scene with Adam and Eve in the Garden of Eden. Spering kind of did the opposite. But I enjoyed both interpretations.

As I said, this piece seems to encompass so much with much smaller resources than composers would have available later. Unlike Shostakovich's 10th symphony, which I saw last year, which had maybe 3 or 4 percussionists/timpanists and about 8-10 double basses, this work had one of each. But they were really occupied by this piece, what Haydn asked of them was akin to them being soloists at concerto level. That brings me to Haydn's masterful sensitivity to the text. I was reading along to the lyrics provided in the programme, and I could hear that virtually every phrase, especially those with the most prominence in the story, was illustrated that matched up with the words exactly as one would have thought, but it was far from cliched. Eg. take one of the final parts towards the end of part one, which describes God looking over the universe to admire his creation of the planets. The harmonies coming from the small orchestra were out of this world! It was like a mini version or prediction of the vibe of Holst's Planets Suite. Then one of my favourite songs in the second part, for bass-baritone "And God Created Great Whales." The singer's deep and rich tones were perfectly mirrored by the deep strings only - violas, cellos, & particularly the single double bass which kind of took a "star turn" here. The text imaging all of those wonderful, majestic, slow moving creatures of the deep was not only vividly illustrated, it was brought to life in words and music. These are only a few examples, there are countless others.

This was a performance put together with great care, dedication and skill. The soprano sang with coloratura, I'm not sure if this style was Haydn's era, but I'm not a stickler for "authenticity" because it means different things to different people (even the top experts). In any case, the soprano and the two male soloists as well as the choir and orchestra brought this work to life with a sense of drama and flair. They were all highly qualified and sang with great feeling, but I must mention the tenor's diction, which came off to me as perfect. By the end of it, both my friend and I where in the "vibe" or that "special space." My appreciation of Haydn's genius was already at a high level, now it's out there way up in the heavens, which is exactly where the man said that all of his inspiration for this masterpiece came from!


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## HarpsichordConcerto

_The Creation_ is a typical example of a true masterpiece. Irrespective of one's religious views (the theme of the work), and which time period the listener belongs to, admiration and enjoyment prevail, unfailingly.


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## Sid James

HarpsichordConcerto said:


> _The Creation_ is a typical example of a true masterpiece. Irrespective of one's religious views (the theme of the work), and which time period the listener belongs to, admiration and enjoyment prevail, unfailingly.


Your comments are very astute & they exactly echo the words of the gentleman from the university administration who made some brief comments before that performance of Haydn's _The Creation _that I just went to. He said that this work can communicate many wonderful things, across the gamut of human emotion (and more!), no matter the colour or creed of the listener experiencing it. He said it doesn't matter in this respect what your denomination or religion is, or even if you don't have any religion in the formal sense. You come across just as in tune with the work as that man was. I agree with both of you 110% and more.

This work is not about dogma or strict theological doctrine. Haydn was the totally opposite of that type of controlling and top heavy sort of character. He was a very laid back and natural guy. A bit like his student Beethoven, Haydn had the same respect for people of all types, regardless of their status or religious/philosophical ideas. While Haydn was undoubtedly more sweet natured and gentlemanly on the surface than his student who came off as more kind of grumpy, they both were good in their intentions and basic attitudes to life and people. They cared more about the integrity of the individual rather than their status or private/religious views, things like that. They had an ability to take people on their own terms. & this lack of judgement and a sense of openess comes across in both men's masterpieces, but of course they were also unique. I think they inhabited quite a measured view of humanity, with all it's flaws and complexities. In a way, that's maybe part of the reason why their music is loved by most people into the classical area and beyond. Whether it's massive works like this, or in things like Haydn's or Beethoven's equally masterful miniatures like the latter's Fur Elise, all people can connect with these works in many ways. They simply had that unique ability to reach out to both the masses in their own time to people today and into the future. This flexible attitude is a large component of their pure genius, it's not only about things like technical brilliance, it's equally about their characters and philosophical/aesthetic views (which are just as modern as the ideas they put down on the page)...


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## Sid James

Went to this one last Sunday at Macquarie University in Sydney -

*Orchestra 143*
Concert Master: Emlyn Lewis-Jones
Conductor: David Angell

Program (soloists in brackets)
*A. Vivaldi* 
- Concerto for two cellos in G minor, RV531 (Steve Meyer, Susan Blake)
- Concerto for two oboes in D minor, RV535 (ca 1715) (Josef Hanic, Ennes Mehmedbasic)
*J. Haydn*, Symphony No.23 in G major, H.I:23 (1764)
-interval-
*Domenico Cimarosa*, Concerto for two flutes in G major (1793) (Meghan FitzGerald, Angus McPherson)
*J.S.Bach*, Concerto for two violins in D minor, BWV 1043 (ca 1731) (Alastair Duff, Tracy Wan)

This Sydney-based chamber orchestra specialised in music from the periods 1685 to 1828, the years between the births of J.S. Bach and Handel and the death of Schubert. They seek not only to perform works by the great composers of this period - Bach, Handel, Vivaldi, Haydn, Mozart, Beethoven, Mendelssohn, Schubert - but also to acquaint its audiences with interesting music by lesser known composers such as C.P.E. Bach, Corelli, Arriaga, Bellini, Boyce, Stamitz and Wassenaer.

A friend and I who went really enjoyed this concert, both in terms of the performances and the unique programs (as conductor David Angell said, this kind of thing is quite rare in his many years in the classical music industry). Anyway, the high points for me were as follows.

The first was the slow movement of the Vivaldi cello concerto, the two soloists playing a duo with continuo accompaniment. It had exactly the kind of depth of emotion and "vibes" as say the famous opening of Elgar's concerto.

Maestro Angell explained the Haydn symphony in depth, and I agreed with the underlying premise of his analysis - Haydn was anything but a "cookie cutter" composer (this opinion is without any logical foundation, at least not according to my experience, which is not even 1 per cent as this conductor's is!). The little known 23rd symphony had many features, the final movement having some of the humour that Prokofiev was to revisit in his 1st symphony. This movement had the strings and winds playing slightly out of sync, in different rhythms, it's as if they were doing their own things, snubbing their noses at, ignoring eachother completely. Many in the audience, including both of us, just laughed at the last note - all the strings plucked at once! I guess you just had to kind of "be there" to get the "joke."

Another friend of mine had seen this same program the previous week, and she thought that the second half of the program was much better than the first. We had not heard any work by Cimarosa before. This flute concerto definitely had a strong Mozartian feel overall, but for me the solo cadenzas for the two flutes were totally unique, like nothing I had heard before. Nothing cookie cutter about this guy's music either, at least in terms of those cadenzas.

The concluding Bach concerto bought tears to my eyes, tears of joy (as I said to my friend at the final applause). An older guy in front of me was also wiping his eyes. After the concert, we went and talked to David, and I told him that their Bach performance touched me more deeply more than any other performance of his music than that I had ever heard. I said that before this, I had sometimes kind of seen Bach as kind of boring. He was so gracious, as they all are. "I'm glad that our performance did that for you" he said...


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## HarpsichordConcerto

Andre said:


> Went to this one last Sunday at Macquarie University in Sydney -
> 
> *Orchestra 143*
> Concert Master: Emlyn Lewis-Jones
> Conductor: David Angell
> 
> Program (soloists in brackets)
> *A. Vivaldi*
> - Concerto for two cellos in G minor, RV531 (Steve Meyer, Susan Blake)
> - Concerto for two oboes in D minor, RV535 (ca 1715) (Josef Hanic, Ennes Mehmedbasic)
> *J. Haydn*, Symphony No.23 in G major, H.I:23 (1764)
> -interval-
> *Domenico Cimarosa*, Concerto for two flutes in G major (1793) (Meghan FitzGerald, Angus McPherson)
> *J.S.Bach*, Concerto for two violins in D minor, BWV 1043 (ca 1731) (Alastair Duff, Tracy Wan)


What a delicious concert that must have been. Indeed, the Bach violin double is one of the true pearls of western classical music.


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## Sid James

HarpsichordConcerto said:


> What a delicious concert that must have been. Indeed, the Bach violin double is one of the true pearls of western classical music.


Agreed 110 per cent there. The Bach concerto was so moving to hear. I think I was equally moved by the work as with the two violinists who played it with so much commitment and integrity. These two young people, so experted even at the beginning of their careers (I think they are both postgraduate students at the Sydney Conservatorium), the depth of their talent, craftsmanship (& all other aspects) and their generosity in offering this "pearl" to us, took my mind to lofty heights...


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## Aramis

I was hearing Vivaldi's Seasons this... this... this... I DON'T KNOW DAYS OF THE WEEK IN ENGLISH

Hmmm.

A lot of young people arrived. I think it's mostly newbie's love, these tunes in first movement of autumn or famous summer storm are good for all those geezers that come from rock/metal background. But they loose most of their charm in ears of experienced listener. I think the most beautiful moments in Seasons are more obscure and slow parts of summer or winter. 

I was somehow disappointed to hear this work after a long break from it, it's one of these moments when you're excited to hear something you loved some time ago and you discover that it's not that great to you anymore.

But I don't think it's bad work either. 

The solist was Piotr Pławner, eccentric-looking guy who made very good recording of Wieniawski's 1st violin concerto.


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## Sid James

Hi Aramis - interesting comments re Vivaldi's _Four Seasons _- I've been thinking of these kinds of issues, eg. more intermediate to advanced listeners (if we want to label such complex things as human experience) reactions to so-called "cliched" works - eg. works like this Vivaldi set that almost everyone knows from sources in popular culture - eg. movies, tv ads, even as background music in elevators, supermarkets, etc...



Aramis said:


> ...I think it's mostly newbie's love...


Sometimes, I wish I could get back to that "newbie" stage, when I first heard works like this on my parent's tapes from age 6 up. It's a kind of "purity" we'll never get back...



> I think the most beautiful moments in Seasons are more obscure and slow parts of summer or winter.


I think I liked the darker bits more, winter (yes) & summer. It's been so long since I heard it, I hardly remember. I've even got a cd reissue of a vinyl recording put down by Frenchman Raymond Fol and his big band, including legendary saxophonist Johnny Griffin, his sax replaces the violin, but not in a literal way (Fol's arrangment is much like chamber music, all of the players are soloists). I've heard this jazzified version more in recent years than the original, I remember it as much as or maybe even more than the original!!! Can't judge which one I like better, it's been ages since I've heard both, but I think that Mr Fol did justice to the work. If you're interested in that recording, I'm not sure if it's still available, I got it in the "Jazz in Paris" series on the Universal label...



> But I don't think it's bad work either.


Fair enough, at least you are honest, but still not rubbishing it. You're just giving a balanced opinion in your own way, which I respect and accept.

I may even go to see it live here in Sydney later in the year, the Metropolitan Chamber Orchestra under Sarah Grace Williams are playing it (with the principal violinist from the orchestra), along with Beethoven's 4th symphony. After so many years, I might just enjoy rediscovering it, especially since I've been getting into the older repertoire more lately...


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## Sid James

Went to this here in Sydney on the weekend -

*SYDNEY MANDOLIN ORCHESTRA
Conductor & arranger: Christopher Keane*
20 piece orchestra with mandolins, mandolas, mando cellos, guitars, and a double bass

Program -

From Russia With Love - Lionel Bart (1963), arr. Robert Schulz

Moscow Nights - Vasily Solovyov-Sedoy (1955)
Here's the above number on youtube, same group, earlier concert:





A Day at the Circus - Richard Charlton (comp. 2005, arr. 2009)
(i.Under the Big Top; ii. Clowns, iii. Flying, iv. Bareback Riders)

Greek Suite - Manos Hadjidakis & J. Papazahariakis
(i.Ballad of Ouri; ii. Ximeroni; iii. Waltz of Lost Dreams)

La Cumparsita - Gerado Matos Rodriguez (1917)

Tzena Tzena - I. Miron (1941) & Grossman (1946), arr. C. Keane

(interval)

Sonata - Robert Schulz (Violin & orch. - Fiona Zeigler, violin - as guest from Sydney Symphony Orch.)

Manha de Carnaval - Luiz Bonfa (1959), arr. C. Keane

Santa Lucia - Trad. Italian, arr. C. Keane

Come Back to Sorrento - Ernesto de Curtis (1903)

O Sole Mio - Eduardo di Capua (1898)

Blue Moon - R. Rodgers & L. Hart (1934), arr. C. Keane

Two Guitars - Trad. Hungarian Gypsy melody, arr. C. Keane

Encores - "Lara's Theme" from film music to Doctor Zhivago; another tango

This concert was a lot of fun and informative as well. The lead guitarist James Adcock was also the compere, telling us in a humorous way about the story behind each of these pieces. I learnt so much about this repertoire. Things like Lionel Bart didn't know how to read music, the the Italian songs were sung by boatmen on the shores of the bay of Naples to entice customers, to the fact that many of these songs went through many encarnations/versions before they became big hits (eg. "Blue Moon" ended being cut from the final edits of two film scores before finally getting heard in a third - the rest is history, as they say).

As for the more "serious" classical pieces, they were interesting too. The Greek Suite took me to that sunny country and it's ancient culture - indeed, this program went all over the globe. I had never heard anything about the two Australian composers featured before. Richard Charlton's "take" on circus life was far from cliched, it was quite dark in parts. It came across to me to having a bit of the darker vibe of "Pagliacci" and the plucking in it, the colours reminded me of Britten works for string orchestra that have alot of that going on too. The Robert Schulz sonata came across as a mix of old and new, English composer Edmund Rubbra's violin works came to mind. Violinist Fiona Ziegler played like the professional she was, the cadenza was just brilliant in all aspects.

An added "bonus" was an older gent sitting next to me sharing his memories of seeing Sir Yehudi Menuhin play in Sydney back in the 1950's. He also said that he loved the music of Prokofiev, particularly the opera "War and Peace." We talked about many other general life things, but it was wonderful to hear him speak warmly and openly about these two great musicians of the twentieth century who he admired to the max (me included, and I'm sure many of you love Sir Yehudi and Sergei here as well)...

[EDIT - added youtube link for song "Moscow Nights"]


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## Aramis

A chamber concert today.

The works were: Poulenc's sonata for flute and piano, Brahms piano trio, Franck violin sonata and Brahms clarinet trio.

First work worked surprisingly well with me, I never liked any work by Poulenc but this rather short piece spoke to me to some extent. It had something of Ravel. 

It was my first full listening of Franck's sonata. It's very good work, I didn't imagine it to have so much intense romantic expression because I always imagined his music as more intellectual (because of his whiskers). I liked it a lot.

Out of the two chamber works by Brahms I really loved the standard piano trio, truely a great portion of solid chamber music, all four movements are Brahms at his best. But the clarinet trio... eh, first of all I don't like the setting, Weber's trio with flute, cello and piano was great for me because of flute instead of violin but clarinet doesn't melt so good with cello + the music was rather dull. I suppose it's hard to have over 100 opuses on account and not even one weak position in it so I guess I'll forgive Brahms this trio. 

During the intermission I've learned from the pianist that my piece (I gave it to him at other concert he had here in may) doesn't have ending at the end of it.


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## Sid James

@ Aramis - yes, Franck's violin sonata is a very emotional piece, and it does show another side to the man, different from his symphonic works. I also heard it live, like you, at Sydney Conservatorium last year, sandwiched between violin sonatas by Ravel & Debussy. Although Franck was not French by birth, he was their "adopted son," and contributed significantly to the music of that country and beyond...


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## Sid James

went to this one on the weekend -

*Ben Carey & Chi-Uro*

First half was *Ben Carey* on saxophones -

*Mark Oliveiro* - Skinnis for soprano sax & live electronics *
*Dan Tramte* - DOWNLOAD for baritone sax & live electronics +
*Ben Carey* - _derivations improvisation for tenor sax & interactive music system *

Second half was *"Chi Uro"* a contemporary chamber group from Melbourne - Samuel Dunscombe (clarinet & electronics); Jessica Foot (oboe & cor anglais); Kim Tan (flute)

*Kaija Saariaho* - Noa Noa (1992) for flute & electronics
*Samuel Dunscomb*e - Sketch for West Park (2011) for flute, clarinet & electronics *
*Isang Yun* - Piri (1971) for solo oboe
*Salvatore Sciarrino* - Muro d'Orizzonte (1997) for alto flute, cor anglais & bass clarinet

* World Premiere
+ Australian Premiere

This was a recital of contemporary electro-acoustic chamber music, some of it spectralist (whatever that is), some elements of industrial noise, soundscapes, textured layering and gorgeous floaty stuff. I think the second piece Ben Carey played had the sax playing with the sound of a few pennies dropping, then more and more, until it sounded like a shower of 100 pennies! The Saariaho flute piece had the flautist playing and also saying the words of a French poem into the instrument, which kind of sounded spooky. There was a huge electronic explosion in the middle of this piece which caught everyone off-gaurd. Samuel Dunscombe's piece was dominated by a kind of luxuriant and nuanced electronic "background," the two instrumentalists kind of blew wind into their instruments, not much sound came out. Isang Yun's oboe solo sounded and looked devlishly difficult to play, and it bought to my mind the "Abyss of the birds" solo clarinet movement in Messiaen's quartet. The Sciarrino piece started off with a kind of stuttering & stunted "autistic" dialogue between the three players, similar to the opening of Lutoslawski's cello concerto. As it went on, this piece became increasingly complex (the notes said it had cross-rhythms). It was interesting to see the cor anglais played, I don't think I'd seen it ever before. All in all, this was a good night, and it was good to hear these pieces and composers which I rarely come across in the usual scheme of things...


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## tdc

This evening I saw the Edmonton Symphony Orchestra perform the following:

Falla - Nights in the Gardens of Spain

Ravel - Rapsodie Espagnole

Intermission

Ravel - Daphnis et Chloe

William Eddins, conductor and piano
Lucas Waldin, conductor
Jean-Sebastien Roy, guest concertmaster

The performances were spectacular and Daphnis et Chloe ended the program (and this years concert season at the Winspear) to a standing ovation. I think my appreciation for all three works was enhanced by seeing them performed live. Particularly the Falla piece and Ravel's Rapsodie Espagnole, both of which are now undoubtedly masterpieces in my mind. I've always thought Daphnis et Chloe was a masterpiece, so its status has stayed around the same I guess. All in all a magical evening.


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## Sid James

tdc said:


> ...I think my appreciation for all three works was enhanced by seeing them performed live...


That's exactly why I like to go to concerts! BTW - great program, would love to have seen the pianist conduct as well, have never seen this (but done with other instruments like violin, and co-conducting from harpsichord, I have seen & they're interesting)...


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## tdc

Sid James said:


> That's exactly why I like to go to concerts! BTW - great program, would love to have seen the pianist conduct as well, have never seen this (but done with other instruments like violin, and co-conducting from harpsichord, I have seen & they're interesting)...


You know I copied those credits from the program, (and initially I think Eddins _was_ going to play and conduct) but as it turned out Eddins only played piano on Falla with Waldin conducting. I'd love to see a player conduct as well, would certainly be interesting.


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## Sofronitsky

Not so recent (last year), but it's the only concert I've been to 

I was visiting an uncle and we got tickets to see the Philidelphia Orchestra (though I was really going for the soloist.)
Conductor - Charles Dutoit (Incredible!)
Pianist - Nikolai Lugansky (Even better  )

*Mozart* Symphony no. 30 (I think! I know it's terrible but I have such a bad memory for mozart)
*Sheng* The Phoenix *world premiere
*Rachmaninoff* Third Piano Concerto

I liked Dutoit's interpretation of the Mozart, which I had heard a few times on my iPod before the concert. The orchestra really shined in it. The 1st violin was incredible and really made an impression on me. The Sheng piece was rather dull to me, as a concerto for sorprano and orchestra would be for someone who listened to no opera/songs at the time. I remember trying very hard to be interested because the composer within my sight and came up to the stage after the performance.

The Rachmaninoff really shined, and it was what I was there for anyway. There isn't so much of a comparison between what I experienced hearing the concerto live by a great pianist and conductor and what I experience listening to it in the car. It was so enthralling! I went to great lengths talking to bouncers and musicians in an attempt to meet Lugansky and eventually was let backstage to meet him. What a nice man and really terrific pianist! He signed my copy of Rachmaninoff's first piano concerto and also my programme and wrote a little note of good luck for me in my career. Definitely an unforgettable experience. I wish I had the money to go to more concerts


----------



## Aramis

Concert performance of La Boheme.

All singers were good but the Rodolfo... ech, more boy than a man, not so young but with very boyish voice and appearance, I always imagined Rodolfo as fiery soul full of passion and he spoiled the role for me. I left during the intermission since I didn't want to see the ending, I have enough bad endings in life and don't want to trouble myself with operatic ones. 

Concert performances are funny. This guy reading what will happend before each scene begins is silly. And the half-acting, all stand in a line and sit down when they don't sing but sometimes they make gesticulations and leave/enter the stage with a bit of acting. Weird.


----------



## Sid James

There were two free concerts of the yearly *Liquid Architecture *series (this was the 12th) & I was able to go to the second one which featured -

*Pia Van Gelder* (Australia) - She played this electronic harp thing laid down on a table, with gloves that were connected to wires, and also relaying "images" of the music being played on a coloured tv screen. This was amplified around the audience by speakers. It was basically kind of static electronic noise. She was far away from the audience, and it would have been good to see what her hands were doing, especially on a screen (maybe instead of the coloured screen?). Anyway, this was interesting.

*Pascal Battus* (France) - This guy scraped various objects - cups, paper, foil, cymbals, cardboard, styrofoam, etc. - against these small rotating motors taken out of Sony walkmans. It was unamplified and his table was close to us & well lit, so we could see what he was doing. Some very delicate textures and sounds from these unusual "instruments." The part with the cymbals being scraped was very high frequency, quite uncomfortable, but the rest was fine. This guy's "musique concrete," his somewhat severe appearance and the fact that he was French made me immediately think of Edgard Varese, the early pioneer of this field.

*Marc Behrens* (Germany) - Mr Behrens pressed the keys on a laptop to generate a kind of "sound-sculpture" of samples taken from various sources, from a reservoir in Berlin to the forests of the Amazon. While he did this, he moved around in a theatrical way, which I found a bit distracting, so for a lot of this piece I just closed my eyes and let his music "sink in." Most of the music was quite layered and lush, & sounded quite awesome on the surround sound speakers, but the middle part was quite loud, a bit like industrial sounds. This was the most interesting piece for me on the night.

All in all, this was a great concert, and my first time seeing purely electronic or mechanical music, as opposed to some other concerts I've been to, which involved some sort of traditional acoustic instrumental element. Good also to see not only a local Sydney artist (Ms Van Gelder), but the two guys who were from overseas...


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## LordBlackudder

Symphonic Odysseys (2011-07-10): A Tribute to Nobuo Uematsu.

1. Opening Fanfare by Nobuo Uematsu
2. Final Fantasy (Concerto for Piano and Orchestra)
3. King's Knight ("A Pretty Day Out")
4. Chrono Trigger ("Silent Light")
5. The Final Fantasy Legend and Final Fantasy Legend II ("Main Theme" and "Save the World")
6. Final Fantasy X ("A Fleeting Dream")
7. The Last Story ("Spreading Your Wings")
8. Final Fantasy XIV ("On Windy Meadows")
9. Blue Dragon ("Waterside")
10. Lost Odyssey (Suite: "Prologue (Main Theme)" | "A Formidable Enemy Appears!" | "A Sad Tolten" | "Dark Saint" | "Light of Blessing / A Letter" | "Epilogue (Main Theme Reprise)")
11. Encore I: FFX
12. Encore II: FFVII


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## clavichorder

Seattle symphony seems like it will have a fantastic season next year. I can't wait!


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## Vesteralen

In May, I saw the Pittsburgh Symphony with Manfred Honeck perform Joan Tower's commission "Stroke" and Beethoven's Symphony No 2 and accompany Helene Grimaud in Mozart's Piano Concerto 23. This was a huge thrill for me, since Ms Grimaud is one of my favorite performers. I never heard her do Mozart before, but I was not disappointed. Stunning. (No encore, though)

In June, I saw the same group perform Walter Braunfels' 'Fantastic Appearances on a Theme by Hector Berlioz' (curiously interesting), Beethoven's Piano Concerto No 4 (w/ Emmanuel Ax) and Brahms Symphony No 4.

I especially enjoyed the Brahms as I kept most of my attention on the woodwind section through the entire performance. Stellar job by the oboist, Cynthia DeAlmeida. The string section seemed just a bit out of sync in the first movement, but the rest of the performance was totally in sync and electric.

Mr Ax did a Schubert encore piece in tribute to the retiring violist, Isaias Zelkowicz. Very moving.


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## Ludders

It's been a few months, but Mahler 2 (Ressurection), Halle Orchestra/Mark Elder was my last one. 
It was staggering!


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## Sid James

Went to this great one last weekend, posted review of it elsewhere, here it is -

A recital of American songs


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## Sid James

Recently went to THIS all-Mozart extravaganza which was awesome...


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## Kathy

I have just joined and would love some of your thoughts concerning the following. I have the opportunity to produce a classical concert in 2012, 2013, or 2014, but need to come up with a title and a program. I have limited resources - 16 singers, conductors, concert pianist, accompanist, violinist, and organist. There are two titles I am considering: Erotic Classical Music Concert or Sensual Classical Music Concert Which one do you like more? Is "erotic" too crude? Remember, I'm not just in competition with all the other events in town, but with Lady Gaga and MTV as well. I want to launch this concert before Valentine's Day with Champagne and am open to programming suggestions. No, Bolero and Rites of Spring are not possible with my budget! Basically, I'm asking folks what their "Fantasy Concert" would be... Thanks for your consideration. (And remember, not too blue or we'll get in trouble!) -Kathy


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## itywltmt

I don't know how Carmina Burana sounds with a chamber choir of a dozen voices, but that would be an intriguing choice for something "fleshy". So would Stravinsky's Pulcinella (that could work with the violin and piano - thinking along the lines of the "Suite Italienne" based on Pulcinella) with a few of the singing parts.

These are the two works that came to mind right away


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## itywltmt

Different topic - has anybody on the discussion thread attended the Edinburgh Festival concerts by Nagano and the Montreal Symphony? I read the "biased" review from La Presse (they did not send their cummudgeon reviewer), and wanted an unbiased assessment. How was the Tan Dun _Water Concerto _received?


----------



## clavichorder

Edit, duplicate.


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## clavichorder

Going to see this concert this weekend. Sibelius, Poulenc, and Rachmaninoff. Will provide a review here.


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## clavichorder

Went and saw Britten's Four Sea Interludes last Saturday! That was amazing. Also, I'll provide a review of the Sibelius last week in more detail tonight, but I loved it!


----------



## presto

I went to a delightful light music concert yesterday at my local town hall with it's Compton Organ (built in 1939)
Wonderful! these old organs certainly make a beautiful sound.
Music by Eric Coates, Edward German, and Ivor Novello.

I've just found the organist I heard on youtube, (Richard Hill) he played this very piece at the concert.
What a talent!


----------



## ZombieBeethoven

I went to see the ROYAL PHILHARMONIC ORCHESTRA last night.
CHARLES DUTOIT, Conductor
JEAN-YVES THIBAUDET, Piano 

Zoltán Kodály: Galánta Dances
Franz Liszt: Piano Concerto No. 2 in A Major
Johannes Brahms: Symphony No. 1 in C minor

A very pleasant evening. I was not familiar with Kodaly before this event. I particularly enjoyed that piece.


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## msmith

Hi all,

If you are interested in checking out music in the city, violinist Nicola Benedetti will be performing baroque music at le poisson rouge this Monday evening, January 30th. I am offering discount tickets for this event. Just go http://www.lepoissonrouge.com/events/view/2913 and enter this discount code in when purchasing tickets.

Discount code: NICOLA123 (case sensitive)

Thanks,


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## starthrower

I attended an intimate chamber music recital at a library yesterday afternoon. It featured all contemporary pieces by young composers. I was startled to find myself surrounded by an audience of very old (they looked at least 75 or older) people. Several of them were nodding off during the performances. I had all I could take after three pieces and left. I guess I am an oddball. Apparently nobody under 70 in this town is into contemporary music?

Anyway, I did enjoy a piece for violin and marimba titled Paranoid Cheese. They only played three of the six wedges. lol!


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## emiellucifuge

I recently saw the RCO performing Erwartung with David Robertson conducting (among other things).
Very good music


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## clavichorder

I go to so many I can't remember on the spot what I last saw(snobbish smiley insert here). Lets see, it was Mendelssohn's Italian Symphony as the feature program, with Haydn Symphony 86(not one I would have picked) and a Peteris Vasks Violin Concerto. Weird concert.


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## clavichorder

Ah, my mistake, I also saw another concert after that. I saw Marc Andre Hamelin perform the Chopin 2nd concerto! How could I forget that. And Schubert's unfinished symphony, and a new piece by Nico Muhly.


----------



## muxamed

My latest concerts were:
- a chamber concert here in Sweden on February 5th with Musica Vitae performing Rossini, Dvorak, Elgar and Monnakgotla
- Rattle/Berliners performing Hugo Wolf and Mahlers Resurrection Symphony No 2 last night. Particularly Mahler was a real enjoyment, very powerful reading


----------



## Lunasong

Going to Imani Winds (wind quintet) concert tomorrow night.
http://www.imaniwinds.com/


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## Lunasong

^^great concert; please see here for review.


----------



## ZombieBeethoven

We saw the Marriage of Figaro earlier today. Lively performance. More raucus comedy than elegant humor. For Mozart anyway. Quite enjoyable.


----------



## Moira

Went a piano recital with Pallavi Mahindhara. She played Beethoven's Fantasy Op 77, Beethoven Sonata in E Major Opus 14 No 1,
Debussy Pour le Piano, Scriabin Sonata No 2 in G# minor, Opus 10, Prokofiev Visions Fugitives Opus 22 and Prokofiev Sonata No 5 in C Major. Encore was Spanish Dance by Granados. 

I will write up a review later. Right now I am letting it simmer in my head. As young as she is (only 24) she is a great pianist.


----------



## PetrB

bassClef said:


> On Tuesday I went to see the Prague Symphony Orchestra conducted by Jiri Kout (part of the Prague Spring festival). The programme:
> 1) Martinu - The Spectre's Bride - I was unfamiliar with this work but it was very enjoyable, especially since it's the first time I've heard a world class choir (Prague Philharmonic Choir) in a first class hall (Smetana Hall in Prague) - quite spine-tingling.
> 2) Tchaikovsky - Rococo Variations - the tone of Tatjana Vassilieva's Vaslin violoncello (built in 1725 by Stradivarius) was breathtaking - such timbre and resonance. We did not let her leave without playing something else, and she played some nice Bach to finish (one of the suites for solo cello).
> 3) Stravinsky - The Rite of Spring - this is why I went, my first chance to hear this played live. Completely different experience to listening to a recording. The power was epic! I didn't completely warm to Kout's interpretation - but still, an experience I'll remember for a lifetime.
> A wonderful experience all round, and a nice balanced concert - I could have taken another piece or two though!


Lucky Lucky you - the programming, just wonderful. You have no idea how less adventurous it gets, even in major orchestra schedules in the rest of Europe, let alone the states. I'm delighted for you, and more than a little bit envious. (now I have to add the Martinu to my want to listen list!)


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## Moira

Here is the promised link to the 'review' (just a report, actually, and doesn't add much more than the list of what was played as stated above) of the Pallavi Mahidhara concert which I attended on 1 April.

http://www.artlink.co.za/news_article.htm?contentID=29687

On 2 April I attended a jazz concert at the local university, the University of Johannesburg. Sydney Mnisi was on tenor sax, the other three members of the quartet were not mentioned in writing and I did not catch them during the introduction - well, I heard them but did not write them down so I have forgotten them, but a young pianist, a percussionist on steel drums and a bass player. I think the bass player may have been Phillip Tau.

They played a lot of the old jazz standards and the sound was smooth. The pace was often slower than I would have liked, but Sydney Mnisi said that anyone can play fast, but to get the sound right at a slower speed needs more discipline. It didn't worry me so I just let it all wash over me like a warm shower and I relaxed into it.

One more classical concert and one more jazz concert coming up in April, then it all stops until the second season of the Johannesburg Philharmonic Orchestra gets underway on 9 May. Fortunately there is lots of contemporary stuff in between to keep me out till all hours every night.


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## Moira

On Good Friday (6 April 2012) I attended a performance of Bach's St Matthew Passion.

http://www.artlink.co.za/news_article.htm?contentID=29726


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## Guest

I heard the Arditti Quartet last night. The ensemble work and precision were phenomenal, but their steely intensity got a little old. The Beethoven and Bartok were just too driven (something that's hard to achieve in Bartok's 4th!). They used very little rubato, which robbed those pieces of some breathing space. The Berg was great. The Ades didn't do much for me, but I would guess the rhythmic complexity made it quite challenging to play. Still, watching one of the world's great quartets from about 10 feet away was quite amazing! 

BEETHOVEN: Grosse Fuge, Op. 133
BERG: String Quartet, Op. 3
ADÈS: Four Quarters
BARTÓK: String Quartet No. 4 in C Major


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## Moira

Being at the very tip of the African continent, we don't often get to hear famous ensembles live, but I find that when I do, it changes my perception of their music for ever. Almost as if I were now one of their friends. Probably more accurately as if they were one of my friends. The indelible mark of live music on the memory.


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## ZombieBeethoven

Our local symphony performed these pieces yesterday-
Haas: Study for String Orchestra
Tchaikovsky: Serenade for Strings Op. 48
Mozart: “Coronation” Mass
I had not heard much of Haas before yesterday and none live. I especially enjoyed his Study. It made me think I may learn to enjoy more "modern" pieces if I saw (heard) them live. A fun outing.


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## Vaneyes

Conductors Masur, Muti, and Barenboim are in the news. Masur falls off podium. Muti triumphs with Chicago SO in Russia and Italy. Barenboim plans a marathon.

Details linked:

http://www.reuters.com/article/2012/04/27/us-masur-fall-idUSBRE83Q0VI20120427

http://operachic.typepad.com/opera_chic/2012/04/muti-cso.html

http://www.guardian.co.uk/music/2012/apr/25/daniel-barenboim-boulez-beethoven-proms


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## Moira

http://www.artlink.co.za/news_article.htm?contentID=30012

The review of the first concert of the second season of the Johannesburg Philharmonic Orchestra 2012.


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## Hausmusik

Recent concerts:

Charlie Albright: Chopin's Etudes Opp. 10 and 25 (complete), Beethoven's Op. 110, Schubert's Impromptus
Tokyo Quartet: Grieg's String Quartet, Beethoven's Op. 132
Borromeo Quartet: Dvorak's "American" Quartet, Schubert's Death & The Maiden


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## Moira

Saturday's jazz offering - I'm really starting to like jazz.

http://www.artlink.co.za/news_article.htm?contentID=30043


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## whiteroses

Hello to everyone. I haven't been "in" for a long time...Happy to say that I have been able to see the following, so far this month:

1 On 8 May, at the Concertgebouw in Amsterdam the programme below.

*Beethoven* - Overture 'Egmont', op. 84
*Beethoven* - Third Piano Concerto in C, op. 37
*Tchaikovsky* - Sixth Symphony in b, Op. 74 'Pathetique'
 
performed by Dutch Philharmonic Orchestra Pablo González (conductor), Lars Vogt (piano)

Of course, it's not the Vienna Philharmonic but a competent performance nevertheless. They were still able to get across the lament of the Pathetique in some way so much so that the melody has been in my head ever since.

2 Yesterday, 13 May, I went to attend this performance in The Hague

*Haydn * Symphony No 94
*Mozart *Horn Concerto no 3
*Rachmaninov *the Symphonic Dances

Performed by The Hague's Residentie Orkest conducted by Chief conductor Neeme Jarvi. Neeme is now 75 years old! But he controlled that orchestra very well. For such a small city, it has an excellent orchestra!

Very pleasant programme. An encore was played. * Sibelius *: Andante Festivo. I have not heard Sibelius before. Very impressed....What a cool and elegant piece….just what's needed after the intensity of Rach.

Enjoy your music!


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## Moira

whiteroses;304483
2 Yesterday said:


> [/COLOR]
> *Haydn * Symphony No 94
> *Mozart *Horn Concerto no 3
> *Rachmaninov *the Symphonic Dances
> 
> Performed by The Hague's Residentie Orkest conducted by Chief conductor Neeme Jarvi. Neeme is now 75 years old! But he controlled that orchestra very well. For such a small city, it has an excellent orchestra!


Oh, you are fortunate indeed! That sounds as if it was a wonderful concert.


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## Moira

The Johannesburg Musical Society usually has a very classical programme.

Something completely different was their Mother's Day Concert (no, I think the date was purely co-incidental, but fortuitous) with a local crossover group, the Charl du Plessis Trio.

Here is the review of the concert: http://www.artlink.co.za/news_article.htm?contentID=30061


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## Turangalîla

Just over a month ago I had the pleasure of hearing Murray Perahia give a recital at the Orpheum theatre in Vancouver, Canada. I was not thrilled about his program (including some Brahms and the Schubert A major sonata-not to my taste) but his playing was absolutely out of this world. You need to hear him live to get the effect of his performances. I would have listened to a dozen encores...

On another (amusing) note, I had the flu at _my_ most recent performance and vomited while at the piano. Good times.


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## Moira

Sorry to hear you were unwell for your concert. That must have shocked the audience. It would have shocked me. I'm a sympathy vomiter. 

Murray Perahia is wonderful and I would LOVE to hear him live. Live is always, always a treat (unless the playing is very, very bad).


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## Moira

The second concert of the Johannesburg Philharmonic Orchestra featured Khachaturian's Masquerade, Chopin's Piano Concerto Number 2 with Spencer Myer at the piano and Stravinsky's The Firebird Suite (1945).

Here are my comments about the concert http://www.artlink.co.za/news_article.htm?contentID=30088


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## Sid James

^^Enjoyed your review, Moira. I noted the phenomenon you observed, people leaving at interval, esp. before a modern work is played. It happens here too. I think it's very rude. Last year there was a mass exodus from Mahler's 9th symphony - between movements! - under Maestro Ashkenazy. I made a thread about it below. A number of members of this forum agreed, but others were like apologists for this rude behaviour - why?

http://www.talkclassical.com/15004-concertgoers-who-leave-during.html


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## Moira

Sid James said:


> ^^Enjoyed your review, Moira. I noted the phenomenon you observed, people leaving at interval, esp. before a modern work is played. It happens here too. I think it's very rude. Last year there was a mass exodus from Mahler's 9th symphony - between movements! - under Maestro Ashkenazy. I made a thread about it below. A number of members of this forum agreed, but others were like apologists for this rude behaviour - why?
> 
> http://www.talkclassical.com/15004-concertgoers-who-leave-during.html


It is not nearly as rude to leave at interval as it is to leave during the performance - even between movements. That is preposterously rude unless they are choking or are violently ill (puking in the concert hall is worse than leaving during a performance, but only just). Those people should be electronically tagged and never allowed into another concert all again.

Another little pet hate I have are the people who leave during the applause because they want to get out of the parking lot ahead of the rest of us. I wait until the house lights come up, have difficulty in walking so do so slowly and still reach my vehicle before the crush (usual modus operandi) or I stay for a drink after the performance with the orchestra (rare - weeknights I like to be in bed at a sensible time). I suppose there is nothing to be done about this lot. They persist in doing it. But it really annoys me that they walk OVER me because I specifically book from season to season aisle seats so I can slip in and out of the concert hall at the last minute (and I am at the venue two hours before the concert) and leave as soon as the house lights go up. If they want to be boorish, the very least they can do is similarly plan to get aisle seats so they don't infringe on the rights of those of us who want to cheer the orchestra to the very end.


----------



## Moira

On Saturday I went to a non-classical concert, light, easy listening.

Here is a link to the review of the concert: http://www.artlink.co.za/news_article.htm?contentID=30116

Here is a link to the review of the CD (last year, the show has been touring and the venue is different to the one mentioned in the review) : http://www.artlink.co.za/news_article.htm?contentID=27202

This is a link to a YouTube clip of Rocco de Villiers playing the theme tune of Chariots of Fire. The horses are Lippizaners from the Kyalami Stables. There are only two schools of Lippizaners, in Vienna and in Johannesburg (Kyalami). 



 Yes, this is the suit he wears in concert. The pants stay on the whole time, the jackets change.


----------



## tgtr0660

On May 11 I attended a concert of the SymphonieOrchester des Bayerisches Rundfunk conducted by Stanislaw Skrowaczewski in Munchen (Munich). They played Chopin's 2nd Piano Concerto with pianist Alexei Volodin, the Adagio of Bruckner's Quintet in a version for string orchestra by the conductor, and Shostakovich's 5th. Amazing performance, best orchestra I ever saw live (until then at least), the Shostakovich was fantastic but heavily germanized by the conductor.















Then, on Sunday that week, what was surely the best musical night of my life. The Berliner Philharmoniker live in Berlin under Claudio Abbado. Schumann's overture to Genoveva, Berg's songs (with Anne Sophie von Otter), then a tremendous performance of Berg's Violin Concerto with violinist Isabelle Faust (who signed my copy of the cd I bought there of her performance of Berg's and Beethoven's concertos under Abbado with the Orchestra Mozart on Harmonia Mundi) and to close the night a perfect performance of Schumann's 2. I got fantastic seats thanks to a German friend who bought them first row. Amazing sound, perfect orchestra (though at moments I found the SODBR in Munchen a little cleaner in the strings). The ovation for Abbad lasted a long long time. Unforgettable night.















Finally, last Friday before my trip to Europe to visit my sister ended, she invited my girlfriend and I to a concert in Luzern of the 21st Century Symphony Orchestra playing music from movies related to the sea. Really nice concert obviously nowhere near the musical level of the other two but still a great experience and a great orchestra. A perfect ending for a very musical trip.


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## Moira

The Johannesburg Philharmonic Orchestra had their third concert of the second season this week with Alexander Ramm as the soloist. Gerhard Korsten was the conductor.

Serenade for Wind Instruments in E flat major, Op 7 - TRV 106 (1881) by Richard Strauss
Prokofiev's Sinfonia Concertante with encore Cassado's Cello Suite
Enigma Variations by Elgar

Here is my review: http://artscomments.wordpress.com/2012/05/24/another-fabulous-concert-review-of-jpo-concert/


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## Moira

*Dr Gordon Stewart Organist at St. George's Parktown, Johannesburg.*

Fancy footwork and flying fingers were the order of the day in the concerts held on the new organ at St George's Anglican Church, Parktown, Johannesburg on 27 and 28 May, 2012. I was there on 28 May and I LOVED the concert.

http://artscomments.wordpress.com/2...eorges-anglican-church-parktown-johannesburg/


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## tdc

Just saw Pierre Simard and the Edmonton Symphony Orchestra perform the following:

Debussy - Prelude a lapres-midi d'un faune
Debussy - Danse (orch. Ravel)
Debussy - Rapsodie for Orchestra and Saxophone*
Ibert - Concertino da camera for Saxophone*
H. Freedman - Oiseaux exotiques: Suite
Rautavaara - Cantus Arcticus Op. 61

*William H. Street - Saxophone

An amazing concert, I thoroughly enjoyed the performances.


----------



## KenOC

A bit OT, but tonight I attended a concert by Melissa Manchester. Not the best; we left at the intermission. Time is cruel.


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## starthrower

I've got an opportunity to go hear these pieces performed at a cathedral on Sunday:

Symphoria’s Casual Concert series. Program features J.S. Bach’s Third Orchestral Suite, Hindemith’s Sonata for Four Horns, Grieg’s “Holberg” Suite and Respighi’s “Ancient Airs and Dances,” Suite No. 1. 

I'm not familiar with any of the works. Tickets are around 25 dollars. Whaddya think?


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## Vaneyes

starthrower said:


> I've got an opportunity to go hear these pieces performed at a cathedral on Sunday:
> 
> Symphoria's Casual Concert series. Program features J.S. Bach's Third Orchestral Suite, Hindemith's Sonata for Four Horns, Grieg's "Holberg" Suite and Respighi's "Ancient Airs and Dances," Suite No. 1.
> 
> I'm not familiar with any of the works. Tickets are around 25 dollars. Whaddya think?


Enjoyable concert, it could be. I think you'll recognize the Grieg and Respighi pieces early on. I'd go for the Bach Suite.

Hindemith's work could be a disaster with one or two bad horns, so I'd go for a possible train wreck, too. Just being mean.


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## DeepR

This week couldn't be better for someone who has barely attended concerts. 
Today I went to Mahler's Second Symphony and it was totally amazing. 
Also, by a more or less coincidental turn of events, this friday I'm going to see Scriabin's Prometheus for the second time in the same concert hall in Brussels, the city where the piece was composed. They will also perform 2 solo piano pieces by Scriabin and Gustav Host The Planets.


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## realdealblues

Just ordered tickets to see Beethoven's 7th with the Battle Creek Symphony. I haven't seen them before. I have doubts that it will as good as I am used to, as I feel the Grand Rapids Symphony does an excellent job, but it was inexpensive and it's a lot shorter drive.

I hate that Symphony Season is always in the Winter. I can think of at least a dozen times I've been stuck driving 2 hours to a show in an ice storm or a blizzard. It's Michigan, why don't they schedule the season in the spring or fall instead of having all the majority of the shows December through February in the heart of winter?


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## Cavaradossi

realdealblues said:


> Just ordered tickets to see Beethoven's 7th with the Battle Creek Symphony. I haven't seen them before. I have doubts that it will as good as I am used to, as I feel the Grand Rapids Symphony does an excellent job, but it was inexpensive and it's a lot shorter drive.
> 
> I hate that Symphony Season is always in the Winter. I can think of at least a dozen times I've been stuck driving 2 hours to a show in an ice storm or a blizzard. It's Michigan, why don't they schedule the season in the spring or fall instead of having all the majority of the shows December through February in the heart of winter?


Kudos for your dedication to live classical music!


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## realdealblues

Cavaradossi said:


> Kudos for your dedication to live classical music!


lol...Thanks. 90% of those times braving the elements was for a Mahler symphony. So those times were worth it.


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## Cavaradossi

realdealblues said:


> lol...Thanks. 90% of those times braving the elements was for a Mahler symphony. So those times were worth it.


Absolutely. Makes me feel all the more appreciative for working literally around the corner from Orchestra Hall in Chicago. In the past ten years, I've seen them perform them all except for the 6th. FWIW, the CSO usually programs a Mahler in mid-October. (I only know that because it's usually my birthday present to myself.)


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## OboeKnight

Heard the Cincinnati Symphony Orchestra perform last night. I get free tickets to all of their concerts because I am a member of the youth orchestra....so nice. 

It was a Mozart/Haydn night. First in the lineup was Don Giovanni Overture, which was wonderfully dark. Next (my favorite of course) was Mozart's Oboe Concerto in C....incredible playing by the CSO's principal oboist, Dwight Parry. He is so entertaining to watch and only 30 years old! I went with my bassoonist friend and we were invited back stage to talk with him...we got pictures Anyway, his encore was Morricone's Gabriel's Oboe from The Mission...what a splendid surprise! It was absolutely breathtaking. Last was the epic Lord Nelson's Mass by Haydn...a night well spent


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## Harmonie

A couple of weeks or so ago I got to go see the Cleveland Orchestra perform Beethoven's Violin Concerto in D Major with Joshua Bell and Bartok's Dance Suite.

I had a headache that night, but it was a treat paid for by my university since we were on an orchestra trip and even got to practice in Severance Hall.


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## OboeKnight

Bassoonist said:


> A couple of weeks or so ago I got to go see the Cleveland Orchestra perform Beethoven's Violin Concerto in D Major with Joshua Bell and Bartok's Dance Suite.
> 
> I had a headache that night, but it was a treat paid for by my university since we were on an orchestra trip and even got to practice in Severance Hall.


Oooh very nice. I'm auditioning for the conservatory at Baldwin-Wallace University which is about 20 minutes from Severance. It's an attractive option since I would be so close to the orchestra.


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## Kevin Pearson

This afternoon my wife and I went to see Nobuyuki Tsujii (Nobu) perform Tchaikovsky's 1st piano concerto with the Ft. Worth Symphony under the baton of Miguel Harth-Bedoya. He was absolutely amazing! He was co-winner of the 2009 Van Cliburn Competition. That year the two top contenders were both so good the judges had to award a tie for the first time ever. Nobu was born blind and has learned most of his music by ear but what a talent!

The Concert opened with Brahms Variations on a Theme of Haydn. It seemed to lack the punch I'm used to and I'm not sure if it was the orchestra or where we were seated but the rest of the concert seemed fine. They closed the concert with Schubert's Symphony No. 9. Many of the attendees left after Nobu during the intermission but they didn't know what they missed. The FWSO did a superb job with the 9th. With all the triplets in the last movement it had to be difficult to play. Especially having been playing for a couple of hours already but they persevered and made it through gloriously.

We were across the street after at the Barnes and Noble store and some of the performers came over for a meet and greet. We got to talk to one of the oboists for about 15 minutes and had a delightful time. 

I hope we can get back real soon but good seats are a little pricey at Bass Hall. The hall is well designed and is one of the top ten performance halls in the world but I still like to be able to see as well as hear.

Kevin


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## Vaneyes

Kevin Pearson said:


> This afternoon my wife and I went to see Nobuyuki Tsujii (Nobu) perform Tchaikovsky's 1st piano concerto with the Ft. Worth Symphony under the baton of *Miguel Harth-Bedoya*....


This conductor could be a candidate for LAPO leadership one day. LA track record, Latino, Hollywood looks.

http://www.latimes.com/entertainment/news/arts/la-et-bowl31-2008jul31,0,7547109.story

View attachment 12636


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## Kevin Pearson

Cool article! I hope we don't lose him anytime soon. It's probably inevitable though.

Kevin


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## tankership

I live just outside of Boston and am a subscriber to the BSO, so a quick hop on the subway and I'm at Symphony Hall. Love the orchestra and attend at least once a week. 

Last Thursday:

SHOSTAKOVICH - Violin Concerto No. 1 (Baiba Skride ) violin	
TCHAIKOVSKY - Symphony No. 5 

Went back last night again just to hear the Tchaikovsky again.


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## OboeKnight

tankership said:


> I live just outside of Boston and am a subscriber to the BSO, so a quick hop on the subway and I'm at Symphony Hall. Love the orchestra and attend at least once a week.
> 
> Last Thursday:
> 
> SHOSTAKOVICH - Violin Conacerto No. 1 (Baiba Skride ) violin
> TCHAIKOVSKY - Symphony No. 5
> 
> Went back last night again just to hear the Tchaikovsky again.


I would go a second time as well! Can't beat Tchaik's 5th. I actually got to play the last movement in an orchestra back in November. So exhilarating.


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## Vaneyes

tankership said:


> I live just outside of Boston and am a subscriber to the BSO, so a quick hop on the subway and I'm at Symphony Hall. Love the orchestra and attend at least once a week.
> 
> Last Thursday:
> 
> SHOSTAKOVICH - Violin Concerto No. 1 (Baiba Skride ) violin
> TCHAIKOVSKY - Symphony No. 5
> 
> Went back last night again just to hear the Tchaikovsky again.


http://www.wgbh.org/programs/The-Bo...dris-Nelsons-and-Violinist-Baiba-Skride-43649

Good for you. I see Andris Nelsons conducted. He's developed a firm reputation in Europe.

I suppose most BSO Guest Conductors are now being viewed as possible BSO Music Director candidates. Do you have any views/insights on this?

IMO Boston has been without for far too long. :tiphat:


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## tankership

> Good for you. I see Andris Nelsons conducted. He's developed a firm reputation in Europe.
> 
> I suppose most BSO Guest Conductors are now being viewed as possible BSO Music Director candidates. Do you have any views/insights on this?
> 
> IMO Boston has been without for far too long.


Mark Volpe and management are really keeping quiet about the search for a new music director, refusing to make any comments. Rumors are that he/she will be winnowed from the seeming endless march of guest conductors here at Symphony Hall for the past 2 1/2 years. I have to say I have never seen a conductor so animated on the podium as Nelsons, which was very apparent during the Tchaikovsky 5th. Hopping up and down, gripping the back rail with one hand and leaning out to make wild gestures to the different sections; it all seemed a bit over the top, especially during the second time I went. Then again the management had a video camera set up in the first balcony to record the entire 5th., so maybe he was playing to the camera. I thought it was a bit distracting and I saw more than a few players smirking. Overall I got the feeling the orchestra members were not all that enthused with him. Just my observation. I think the long period without a conductor is beginning to take its toll on the orchestra members. The last two years with Levine he missed many performances and those he did conduct were wildly erratic. Some players stared at him in confusion. The orchestra needs a FULL TIME music director badly.

Because of the Blizzard here in Boston Friday the 8th of Feb. was cancelled and most likely Sat. the 9th will be also. Luckily I have a ticket for Tuesday. Christoph von Dohnányi will conduct BRAHMS - Variations on a Theme by Haydn, SIBELIUS - Violin Concerto (Renaud Capuçon), and BEETHOVEN - Symphony No. 5. Not to sound like a killjoy, but while I am looking forward to the first two pieces the Beethoven 5th I have heard here WAY too many times! I guess management thinks it's helps to fill the house. They never seem to explore some of the lesser known or forgotten composers.


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## tankership

Some picture taken during the applause after Nelsons conducting the BSO in Tchaikovsky's 5th Jan. 31 2013.


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## Vaneyes

Thanks T, for your BSO comments. I'm not a big fan of dancing on the podium either, or crazy facial expressions.

Of their guest conductors the past two years, I especially like Myung-Whun Chung and Jiri Belohlavek. I don't know if they're available or interested. :tiphat:


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## tankership

V,

I don't expect to see the same gyrations with Mr. von Dohnányi this Tuesday. The Friday and Saturday concerts were both cancelled so I expect he'll be well rested for the last concert in this series.

Here is an interview with Mark Volpe concerning search process for a new conductor.

http://www.wgbh.org/programs/Backstage-With-Brian-Bell-268/episodes/-27586

Here is another article from 21 Sept. 2012 saying that a new conductor may be announced this spring.

http://www.boston.com/culturedesk/2...-the-spring/tHCSDfsQh1pHgcOJNYF6AM/story.html

We'll just have to wait (even longer) and see.


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## tankership

*Bso 2-12-2013- Cristoph von Dohnanyi conductor*

Last night attended a performance at Symphony Hall with von Dohnányi conducting the BSO.

Brahms - Variations on a theme by Hayden OPUS 56A

Sibelius - Violin Concerto in D OPUS 47 (Renaud Capucon soloist)

Beethoven - Symphony No. 5 in C minor OPUS 67



























After the previous two snow cancellations the hall was packed. Some pictures attached taken during the applause.


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## arpeggio

*Royal Concertgebouw Orchestra-Kennedy Center*

My wife and I attended the Royal Concertgebouw Orchestra at the Kennedy Center in Washington last night. We were literally blown away. They performed the Bartók _Violin Concerto no. 2_ with Leonidas Kavakos and the Mahler _Symphony No. 1_.

What impressed us was the balance. Even when instruments were playing softly they still projected over the orchestra. No matter how powerful the brass were, one could still hear the strings. They also have one of the finest horns sections I have ever heard in my life. The only flub I heard was with the bassoon player. He lost control of his tone during one solo and I saw him switch reeds. As an ******* bassoonist I was probably the only one in the entire audience who caught it. It is reassuring to know even the great ones are not perfect.

:clap::clap::clap:​


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## ComposerOfAvantGarde

Monday last week I saw the Australian Chamber Orchestra perform
Haydn: Symphony no. 49
Brett Dean: Concerto for Electric Violin "Electric Preludes" (Australian premiere)
Mozart: Violin Concerto no. 3
Mozart: Symphony no. 25


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## Mahlerian

Returned from hearing the Boston Symphony under Dohnanyi play:

Mozart: Piano Concerto No. 23 in A
Radu Lupu, piano

and

Bruckner: Symphony No. 4 in E-flat "Romantic"

Very satisfied with the concert as a whole; Lupu played Mozart with a very light touch, hitting all of the varied emotional highs and lows of the piece, and Dohnanyi kept a good pace in the Bruckner that accented the symphonic architecture well, and managed to get the strings heard above the walls of brass during the tuttis. The first chair woodwinds and brass choirs performed their rather exposed parts admirably. Unfortunately, the first horn made a few mistakes in the course of his difficult part, most devastatingly at the end of the second movement, immediately following the climax. When the final chords of the finale rang out, though (not supplemented in this performance of the Haas 1878-80 version by the first movement's main theme), the clear sense of resolution that remained in the hall prevented the roaring applause from breaking out for a few short seconds.


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## ptr

Going to London this weekend for a few concerts, two with the Philharmonia and Vladimir Ashkenazy (Thursday and Sunday) Britten/Shostakovich and Britten/Mozart/Mahler on the programme (I'm a bit apprehensive about Mahler and Ashkenazy..  ). 
Wigmore hall on Friday for the Takács Quartet and Charles Owen (piano) playing Haydn and Brahms.

Saturday is scheduled for visiting friends in Salisbury, but I hope to get some music then as well...

/ptr


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## Vaneyes

ptr said:


> Going to London this weekend for a few concerts, two with the Philharmonia and Vladimir Ashkenazy (Thursday and Sunday) Britten/Shostakovich and Britten/Mozart/Mahler on the programme (I'm a bit apprehensive about Mahler and Ashkenazy..  ).
> Wigmore hall on Friday for the Takács Quartet and Charles Owen (piano) playing Haydn and Brahms.
> 
> Saturday is scheduled for visiting friends in Salisbury, but I hope to get some music then as well...
> 
> /ptr


I could share your apprehension for Ashkenazy Mahler 4, if he opens with quick tempi, as with Sydney SO (seen at YT).

Otherwise, Soprano Elizabeth Watts sang well for LSO/MTT M4 last year at Barbican, and the Philharmonia has a fine Mahler tradition.

Good luck. Enjoy! :tiphat:


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## Kevin Pearson

My wife and I attended a Dallas Symphony Orchestra concert this afternoon with Jaap Van Zweden conducting. They began the program with a beautiful rendition of Wagner's Prelude and Liebestod from Tristan and Isolde. 

This was followed by a small break as the orchestra reorganized the stage for a smaller ensemble to accompany pianist Anton Nel in a superb performance of Beethoven's Piano Concerto No. 2 (which in reality is No. 1 but we all know it as No. 2). No. 2 is probably my least favorite of the Beethoven piano concertos because it does not have the Beethovian feel in the concerto until the last movement but the last movement is wonderful indeed and worth getting to in the end. Mr. Nel did a fabulous job though and played the adagio with great feeling.

After intermission they performed a piece I was totally unfamiliar with called Elegy from August 4, 1964 (2008) by Steven Stucky. Really a beautiful and moving piece of music albeit rather shorter than I would have liked. It's a piece that was commissioned by the DSO to commemorate the 100th birthday of former president Lyndon B. Johnson. It actually comes from a much larger work apparently that uses a chorus and about 90 minutes long. The DSO is going on a brief two week tour of Europe in March and will be performing this as well as the other pieces performed today. They wanted at least one American work on the program for their tour and this is a wonderful piece.

Lastly they performed Richard Strauss' Suite from Der Rosenkavalier and we were just blown away. The DSO played this to such effect and displayed such power in the finale that the closing notes brought the whole house to their feet with three standing ovations. It was one of those 'wow!" moments that you will never forget. I'm glad we went! 

Kevin


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## Vaneyes

KP, I was forever convinced of LvB PC 2's validity and enjoyment after seeing/hearing Argerich (w. OSM/Dutoit, 2001).

Recommended recording (with an equally-inspiring Haydn PC 11, rec. 1983). :tiphat:

View attachment 13767


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## Vaneyes

ptr said:


> Going to London this weekend for a few concerts, two with the Philharmonia and Vladimir Ashkenazy (Thursday and Sunday) Britten/Shostakovich and Britten/Mozart/Mahler on the programme (I'm a bit apprehensive about Mahler and Ashkenazy..  ).
> Wigmore hall on Friday for the Takács Quartet and Charles Owen (piano) playing Haydn and Brahms.
> 
> Saturday is scheduled for visiting friends in Salisbury, but I hope to get some music then as well...
> 
> /ptr


ptr, can we have your reviews of these concerts? Thanks. :tiphat:


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## ptr

Vaneyes said:


> ptr, can we have your reviews of these concerts? Thanks. :tiphat:


Please give me a few day's to put my thoughts into words ... English is only my third language so it takes me "forever" to formulate something that is longer than just one sentence... 

/ptr


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## ComposerOfAvantGarde

Last night.

I thought the Ligeti was a little bit fast. But very well played!


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## Head_case

Vaneyes said:


> ptr, can we have your reviews of these concerts? Thanks. :tiphat:


Haha. At least you asked the right person for a review. When I went to see the Modigliani Quartet play Beethoven & Ravel's string quartets in F major this weekend, I posted a review about the woman next door's overpowering body odour in chamber concert venues somewhere on these forum pages 

That was coupled with an invasion of the senior citizens brigade wearing Lily of the valley perfumes with imported Russian whooping cough and sneezing infections which made me cringe and start flute breath holding exercises reducing my breathing rate to a constant 4 breaths a minute for the duration of the scherzo movements. During the slow movements, I went into apathetic apoplexy and my girlfriend resuscitated me with mouth to mouth at the end of the performance before I ended.

But the Modigliani Quartet themselves were superb 

I hopte Ptr has a great time at the Wigmore Hall. It's my favourite acoustic venue: the difference between seating rows A-F is absolutely huge compared to V-Z. Never sit in row W. The seats are parallel plane aligned so you just get to see the lady's great faux baroque wig in front :lol:


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## Kevin Pearson

Vaneyes said:


> KP, I was forever convinced of LvB PC 2's validity and enjoyment after seeing/hearing Argerich (w. OSM/Dutoit, 2001).
> 
> Recommended recording (with an equally-inspiring Haydn PC 11, rec. 1983). :tiphat:
> 
> View attachment 13767


Thanks for the recommendation Vaneyes! I'll check it out. It's not that I don't like the No.2 at all it's just my least favorite of the five. The long orchestral opening of the first movement sounds too much like Mozart to me and not really Beethoven. The second movement sounds more like him but the third movement definitely sounds like his later style.

Kevin


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## ptr

I started to write something long and winding about my Concert weekend in London, read it through and decided to scrap it because I felt it was to long and winding and going now were. This is instead the one liner summary (of each concert number)!

*Thursday: The Philharmonia Orchestra u. Vladimir Ashkenazy @ RFH, soloist Sol Gabetta, cello*

*Britten - Death in Venice suite, Op 88 (arr. Steuart Bedford).*
For me, a weak Britten piece, it has some interesting sonorities, taken out of context it do not excite me, ok as a concert starter but nothing I would pay extra to hear again.

*Shostakovich - Cello Concerto No 2 in G major, Op 126*
One of my favourite Cello Concertos, Gabetta plays well, she is forceful when needed, but her tone is a bit shaded (like the uncertainty of a ever so slightly uncontrolled vibrato, I'm not sure how to put words to what I hear as I'm not a string player), The PO and WA where perfect in their supporting role which gave Gabetta even further lift! I would doubtlessly pay to hear her again

*Shostakovich - Symphony No 15 in A major, Op 141*
Shostakovich requiem over himself, anyone who has head Ashkenazy play or conduct Shostakovich on disc or live will know that he is passionate about his compatriot, this shows from the first beat and through the whole of this symphony. If you are familiar with his recording of the 15th on Decca records you would have recognised yourself, but its evident that Ashkenazy has has deepened his relationship with this symphony. I would pay to hear the PO and WA do this again, twice!

*Friday: Takács Quartet with Charles Owen, piano @ Wigmore Hall*

*Brahms - String Quartet in C minor, Op 51/1
Haydn - String Quartet in D, Op 76/5*

Awesome, this was the first time I've heard the Tak's live and it might be just another day at the office for them, but for me it reinforced everything I've ever thought about their playing from hearing their recordings. The Quartets intercommunication is astounding it is like they blow new life into old warhorses like Brahms and Haydn.

*Brahms - Piano Quintet in F minor, Op 34*
It takes a world class pianist to make the F minor Quintet sing, and Mr Owen, despite giving it his best has a long way to travel before achieving world class. I think the Quartet sensed this and sort of lost track.

I would pay full price to hear the first half of this concert any day and be very satisfied!

*Sunday: The Philharmonia u. Valdemar Davidsson* @ RFH; Soloists Tamara Stefanovich, piano; Elizabeth Watts, soprano*

*Britten - Quatre chansons françaises*
I've never heard these early Britten songs before, but for a 15 YO they seem very mature and are quite delightful. Ms Watts sung them with great conviction, she has a lovely voice that carried well above the orchestra. I will have to look for a recording of these!

*Mozart - Piano Concerto No 21 in C, K467*
Very technically able pianist, never heard her before. Quite a fly through Mozart performance, delightful but a tad shallow.

*Mahler - Symphony No 4*
I had quite low expectations of Ashkenazy conducting Mahler, but on the whole he won me over. Sure there where some idiosyncrasies in his choices of tempi in the second and last movements that made me sit up straight, especially the quite fast tempo when the soloist comes in in the fourth movement seemed ill judged, but despite this Ms Watts performed excellent..
I'm looking forward to hear more Mahler from Ashkenazy and I will surely pay to hear Ms Watts again!

The Philharmonia performed brilliantly at these two concerts, they are still my favourite London Orchestra!

/ptr

*WA's Icelandic alias...


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## Vaneyes

Thank you, ptr. Your reviews were well worth waiting for. Glad you had good times. :tiphat:


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## ptr

Vaneyes said:


> Thank you, ptr. Your reviews were well worth waiting for. Glad you had good times. :tiphat:


You're welcome!

/ptr


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## vertigo

I went to Mahler's 2nd conducted by Mehta in Munich last Thursday and to
Mozart's piano concerto 21 and Dvorak's 8th conducted by Sinaisky in Athens last Tuesday.

I'm not qualified to make any value judgments but the piano soloist for the piano concerto was Dimitris Sgouros. 
After the concerto he played a solo piece, which was not in the program as an encore.
I don't know what it was but I've never seen anything so impressive.


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## Kevin Pearson

Nice review ptr. Thanks for taking the time. I appreciate reading other's experience. I don't get to attend live performances very often so I have to live vicariously through others. LOL

Kevin


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## ptr

Kevin Pearson said:


> Nice review ptr.


Thanks, you're welcome, I'm planning my next Concert Excursion for the first weekend in April, target for the moment is Tallinn (Estonia) and this concert:

ESTONIAN HERITAGE: April 5, 2013 at 7 pm - Estonia Concert Hall - 3rd concert of the MAESTRO series

*Tõnu Kõrvits*. Ballad (premiere)
*Eduard Tubin*. Concertino for Piano and Orchestra
*Jaan Rääts*. Violin Concerto
*Helmut Rosenvald*. Symphony No 3

MARI POLL (violin)/MIHKEL POLL (piano); Estonian National Symphony Orchestra, Symphony Orchestra of the Estonian Music and Theatre Academy / Conductor ARVO VOLMER

Rääts Violin Concertos being a favourite of mine and I haven't heard a single note from Rosenvald, so that will be exciting... 

With a bit of luck I'll also get to hear the organ of the St. Mary Cathedral!

/ptr


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## Radames

Denis Matsuev played Rachmaninoff’s Third Piano Concerto at the Maison symphonique last night. We kept applauding and he did a couple of encores. The second was some Oscar Peterson Jazz. Don't hear that much at classical concerts.


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## OboeKnight

Went to the Cincinnati Symphony Orchestra last night (with my free tickets muahahaha)
Program:
_Pavane for a Dead Princess_ -Ravel
_Concentric Paths, Concerto for Violin and Chamber Orchestra_- Thomas Aides
_Symphony No. 9 (The Great)_- Schubert

Excellent concert! Pavane was lovely as always...a deceitfully serene prelude to the next piece.

Concentric Paths was an experience to say the least. Performed by Leila Josefowicz. The entire concerto left me with an uncomfortable feeling from start to finish. It wasn't terrible, just very strange. To be honest, it sounded something like an alien invasion was taking place! Ms. Josefowicz is an outstanding violinist no doubt, but the piece didn't really showcase her talent. The majority of her playing was up in the stratosphere range of the instrument, squealing like it was being murdered. The last movement, _Rounds_ was my favorite. The violin's melody was in a constant round with the orchestra. But the round was an extremely close round so it sounded crazy. The piccolo was playing the same melody but there was like an eighth note difference in where it began...it was just weird. It seemed as if much of the violin solo was covered up by the cacophony scored for the orchestra...you could see her playing intricate passages, but you couldn't really hear it...oh well. I would definitely listen to it again if for nothing but the intense mood it invoked. Moving on to Schubert. Definitely the highlight of the night. Beautifully played! The trombones were excellent  gotta love the trombone features in that symphony. Superb oboe playing from principal Dwight Parry. The solos in the second movement were awesome. Really enjoyed the concert!


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## SuperTonic

Just got back from hearing the Dallas Symphony Orchestra. They did two Vivaldi Recorder Concertos (RV444 and 443, both in C major) and after the intermission, Mahler 6. The conductor was Jaap van Zweden and the recorder soloist was Erik Bosgraaf. It was an amazing concert! Our seats were actually in the choral terrace where the choir normally sits (the DSO sells tickets for these seats on concerts that do not include a choir). It was fascinating sitting behind the orchestra. And it was LOUD! We were right behind the percussion and horn sections. I was literally 10 feet away from the mallet in the last movement of the Mahler, and we could read the timpani player's music from over his shoulder. Acoustically it wasn't the best place to sit, but I just couldn't pass up the opportunity to see the performance from that vantage point. Plus the tickets were pretty cheap.

I honestly don't really know what to say about the Vivaldi concertos. I don't really know much about the recorder so I don't really have any basis to judge the performance. Both pieces were delightful though. Obviously, Mahler 6 was what most people came to see though, and it didn't disappoint. It has always been one of my favorite pieces. Van Zweden chose to play the Scherzo as the second movement and then the Andante movement, which is my preferred order as well, and he omitted the final hammer blow in the last movement. There was one part at the beginning of the last movement that seemed a little shaky. There were a lot of exposed parts that seemed pretty difficult and I don't think it was completely successful, but that was really the only thing that I noticed that didn't sound right.

Here are a couple of pictures taken from my crappy camera phone during the applause after the Mahler (sorry for the poor quality). The first is the famous mallet. The other shows where our seats were relative to the orchestra.


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## Cavaradossi

The Chicago Symphony sells terrace seats as well. Yes, accoustically not perfect, but still an exciting way to experience a concert. Plus there are no better seats in the house for watching and appreciating the conductor at work. I had a subscription to the visiting orchestras series in the terrace for a few years and experienced some of the greatest orchestras and conductors in the world from the "inside". Plus I actually prefer the bench style seating up there, to me it's more comfortable and spacious than the fold-up type single seats.


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## OboeKnight

Cavaradossi said:


> The Chicago Symphony sells terrace seats as well. Yes, accoustically not perfect, but still an exciting way to experience a concert. Plus there are no better seats in the house for watching and appreciating the conductor at work. I had a subscription to the visiting orchestras series in the terrace for a few years and experienced some of the greatest orchestras and conductors in the world from the "inside". Plus I actually prefer the bench style seating up there, to me it's more comfortable and spacious than the fold-up type single seats.


My youth orchestra is touring Chicago in May and we are attending a CSO concert. We are getting those seats  I'm pretty excited!


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## Cavaradossi

Attended this at the CSO last night:

Debussy Prelude to The Afternoon of a Faun 
Bartók Piano Concerto No. 2 (Yefim Bronfman)
Chopin Etude in F Major, Op. 10, No. 8 [ENCORE: 3/7] 
Bartók Divertimento for String Orchestra 
Stravinsky The Song of the Nightingale

I booked a prime center orchestra seat last month on a promotion for less than half price when they were still billing Pierre Boulez as conductor, though I figured the odds of Boulez showing up were very low. The substitute was Cristian Macelaru, associate conductor of the Philadelphia Orchestra. I don't know how much was the lesser conductor and how much was a the lingering effects of mindfog from a greasy lunchtime pizza party, but though the music was excellent it just didn't "grab" me like I know the CSO is capable of.

"Faun" as well as "Nightingale" were showcases for our treasured French flautist Mathieu Dufour. Bronfmann performed up to my high expections, having seen his rollicking Prokofiev 3rd before. The Divertimento was a substitution for Messiaen's _Chronochromie_, which I hadn't heard before and was especially looking forward to. The intriguing mix original program was a big draw for me and the switcheroo, particularly for another Bartok work, was a disappointing. I seriously considered leaving at intermission (as several did, and there were lots of empty seats to begin with), but I rightly figured the Stravinisky would redeem the evening double Bartok.

"Song of the Nightingale", an opera score converted to a ballet score for Diagalev, isn't quite as jarring as "Rite" or "Petrouska", more a charmer along the lines of Ravel's "Mother Goose Suite". It tells the story of Chinese Emperor's infatuation with first a real then mechanical bird, and the birdsong effects were astounding and astoundingly executed. Chris Martin's trumpet solos were astounding as well.


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## TudorMihai

Yesterday (8th March) I attended a concert given by The Transylvania State Philharmonic Orchestra (Cluj-Napoca, Romania) in which Mahler's Second Symphony was performed for the first time in 11 years in this city (Mahler is generally performed in Bucharest during the George Enescu Festival). The concert really was an extraordinary event and had a unique setup. Because the stage of the venue is fairly small, it was reserved only for the orchestra and the soloists. The choir stood in the balcony on each side of the hall (the men on the right side and the women on the left). The orchestra was conducted by Theo Wolters from the Netherlands. After the concert the applause lasted for twenty minutes. This was also the first time I ever attended a Mahler concert.


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## Vaneyes

Cavaradossi said:


> Attended this at the CSO last night....
> 
> ...."Song of the Nightingale", an opera score converted to a ballet score for Diagalev, isn't quite as jarring as "Rite" or "Petrouska", more a charmer along the lines of Ravel's "Mother Goose Suite". It tells the story of Chinese Emperor's infatuation with first a real then mechanical bird, and the birdsong effects were astounding and astoundingly executed. Chris Martin's trumpet solos were astounding as well.


A favorite of CSO/Reiner. Get the recording, if you don't have it. It was probably that connection that partially saved your evening.

It's been a disappointing couple of seasons for the CSO, with the health issues of Muti and Boulez. Particularly Muti, whom I think they thought were going to get several top notch seasons under his direction. I'm not confident for the CSO/Muti future. Tough luck? Or was Chicago sold a bad horse?

Macelaru and Maazel are substandard substitutes. Maybe the front office needs to wake up, and not get fooled again.


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## Mahlerian

Cavaradossi said:


> "Song of the Nightingale", an opera score converted to a ballet score for Diagalev, isn't quite as jarring as "Rite" or "Petrouska", more a charmer along the lines of Ravel's "Mother Goose Suite". It tells the story of Chinese Emperor's infatuation with first a real then mechanical bird, and the birdsong effects were astounding and astoundingly executed. Chris Martin's trumpet solos were astounding as well.


If you haven't heard the full opera before, you should give that a listen as well. It's a bit of a mixed bag stylistically, simply because the first part was written before The Firebird and the rest was written after The Rite (the orchestral suite is drawn entirely from the latter part), but worth hearing nonetheless.


----------



## OboeKnight

The Middletown Symphony Orchestra concert last night was wonderful! There are a lot of local orchestras around here that are surprisingly good. 

Tchaikovsky 6 was excellent. For some reason, the second movement has always been my favorite. It just has a certain charm to it. The oboe professor of one of the colleges I'm considering is the principal oboist. She has amazing tone! 

Tchaikovsky's Violin Concerto was astounding. The melodies in that piece are so beautiful, and the soloist was incredible. An 18 year old with flawless playing. He was playing a Stratovarius violin as well. Very inspiring since he was my age!


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## OboeKnight

_Stradivarius_


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## ComposerOfAvantGarde

OboeKnight said:


> Went to the Cincinnati Symphony Orchestra last night (with my free tickets muahahaha)
> Program:
> _Pavane for a Dead Princess_ -Ravel
> _Concentric Paths, Concerto for Violin and Chamber Orchestra_- Thomas Aides
> _Symphony No. 9 (The Great)_- Schubert
> 
> Excellent concert! Pavane was lovely as always...a deceitfully serene prelude to the next piece.
> 
> Concentric Paths was an experience to say the least. Performed by Leila Josefowicz. The entire concerto left me with an uncomfortable feeling from start to finish. It wasn't terrible, just very strange. To be honest, it sounded something like an alien invasion was taking place! Ms. Josefowicz is an outstanding violinist no doubt, but the piece didn't really showcase her talent. The majority of her playing was up in the stratosphere range of the instrument, squealing like it was being murdered. The last movement, _Rounds_ was my favorite. The violin's melody was in a constant round with the orchestra. But the round was an extremely close round so it sounded crazy. The piccolo was playing the same melody but there was like an eighth note difference in where it began...it was just weird. It seemed as if much of the violin solo was covered up by the cacophony scored for the orchestra...you could see her playing intricate passages, but you couldn't really hear it...oh well. I would definitely listen to it again if for nothing but the intense mood it invoked. Moving on to Schubert. Definitely the highlight of the night. Beautifully played! The trombones were excellent  gotta love the trombone features in that symphony. Superb oboe playing from principal Dwight Parry. The solos in the second movement were awesome. Really enjoyed the concert!


Oh my gosh! I wish I could have seen that concerto!


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## RonP

The missus and I saw the Baltimore Symphony Orchestra perform Debussy's Petite Suite, Strauss' Oboe Concerto in D Major and Beethoven's Symphony No. 7 last Saturday night. The oboe soloist was kathleen Needleman, oboe principal of the BSO and she dedicated her performance to William Bennett of the San Francisco Symphony, who passed away two weeks ago. She did well after some early nerves.

We also saw Christoph von Dohnanyi lead the National Symphony Orchestra in Mendelssohn's Violin Concerto in E Minor and Brahms' Symphony No. 4. That was a superb concert!


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## OboeKnight

RonP said:


> The missus and I saw the Baltimore Symphony Orchestra perform Debussy's Petite Suite, Strauss' Oboe Concerto in D Major and Beethoven's Symphony No. 7 last Saturday night. The oboe soloist was kathleen Needleman, oboe principal of the BSO and she dedicated her performance to William Bennett of the San Francisco Symphony, who passed away two weeks ago. She did well after some early nerves.
> 
> We also saw Christoph von Dohnanyi lead the National Symphony Orchestra in Mendelssohn's Violin Concerto in E Minor and Brahms' Symphony No. 4. That was a superb concert!


Soooo jealous. You must have had an amazing time!


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## RonP

Dohnanyi lived up to his reputation. The Brahms piece came off really well.

This a banner year for classical performances. We decided to go back now that the kids are grown. In addition to the above perfromances, we've seen:

By the Baltimore Symphony

Beethoven Symphony No. 9
Beethoven Symphony No. 3
Beethoven Symphony No. 5
Mozart Symphony No. 35
Brahms Double Concerto
Brahms Ta Deum

By the National Symphony Orchestra:

Handel's Messiah
Mozart Violin Concerto No.5

By the National Philharmonic Orchestra:

Mozart's Sinfonia Concertante


----------



## Cavaradossi

Vaneyes said:


> It's been a disappointing couple of seasons for the CSO, with the health issues of Muti and Boulez. Particularly Muti, whom I think they thought were going to get several top notch seasons under his direction. I'm not confident for the CSO/Muti future. Tough luck? Or was Chicago sold a bad horse?
> 
> Macelaru and Maazel are substandard substitutes. Maybe the front office needs to wake up, and not get fooled again.


Argh... don't get me started. I still hold a grudge against the new management for running Daniel Barenboim out of town within a season or two of the arrival of the new president. People knocked Barenboim for his limited residency in Chicago, but at least he was here when he was supposed to be. I must say though, even after several directorless years during Muti-quest and a few more under an often-absent director, the orchestra itself is playing as great as ever.


----------



## KenOC

A review posted on another site, but I'll repeat it here. Jeremy Denk in recital at the Soka today. This was a tremendous recital, so I'm going to write a bit about it.

He opened with Bartok's Piano Sonata from 1926. This was a real headbanger, loud, fast, and discordant. But Denk sorted it out very well. His ability to clarify things through touch and dynamics, often at the same time with different hands, made everything a lot clearer than I've heard before. The gray-haired audience was hooting and hollering at the end with enough applause to bring Denk out twice for bows before proceeding. The elderly lady next to me said, "I usually don't like that kind of music at all, but I like it when he plays it."

He played Liszt up to the intermission: the Prelude on Weinen, Klagen, Sorgen, Zagen and then Three Sonatas from Petrarch, After a Reading from Dante, and Liszt's arrangement of Isolden's Liebestod. I swear he was channeling Liszt -- eyes closed, his head thrown back in ecstasy, hands flying off the keyboard at the end of runs, stomping the pedal so hard at times that the stage shook. But the interpretations and the technique were fabulous.

After intermission, he gave a short talk about Beethoven's debt to Bach and specifically about the Op. 111. Then he played Bach's Prelude & Fugue in B minor from the first book of the WTC, followed without pause by Beethoven Op. 111 sonata. A tremendous impact of course, whether due more to Denk or to Beethoven it's hard to say. But he played it very well indeed.

Finally, a continued standing applause and ovation coaxed out an encore, one of the Goldberg Variations, played simply and very nicely. I wanted to shout out, "Hey, play the fugue from the Hammerklavier" but thought better of it. ;-)

Overall what I heard was a lot of passion, a fearless technique, a strong music intelligence, and consummate showmanship. One of the very best, I'd say!

One thing was embarrassing. In the thousand-seat Soka Auditorium there were only about 200 people. C'mon now, a fine new auditorium with first-class acoustics, beautiful grounds, ample free parking, cheap tickets, and a world-class artist in a big meaty program. Why on earth!


----------



## Tero

If you are part of the Sibelius forum, I will post this there for comments, later.

It was a good effort doing the 2nd by the http://www.stlphilharmonic.org/ which is a bit of a community orchestra, players in age from 18-70.

But of course there were a few problems. Right at the start there was something odd in the first phrase that the French horns play. We got over that. The strings were fine most of the time. They did sound a bit thin in the higher range, such as the beginning of the 3rd movement, and the violas were a bit off timing at times.

It was getting to be a good performance almost to the end, going into the 4th. But then 2-3 minutes into the movement, the woodwinds and strings part, there seemed to be a bit of a muddle. The conductor had them play very quietly from about 3 minutes to about 6, and I kind of lost interest for several minutes. Then around 6-7 minutes the opening part of the 4th movement repeats. It was not a poor concert hall, but this size of orchestra has to be handled such that the volume is not too quiet.

I noticed that the string players had an easier time playing in unison in the fast parts, where at a moderate tempo it was falling apart a bit. Also, the parts where the horns play independently, where the strings march the music along and there is a phrase for the horns that does not line up with the main part or the moving along rhythm, they seemed a bit off timing.
Unlike the horns, I had little trouble with ay of the woodwinds or the trumpet.

If they had played anything but the 5th or 2nd, this type of minor orchestra would have produced a more satisfactory result. Well, maybe not the 7th, it is tricky.


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## maestro57

If you're in Melbourne, Sir Andrew Davis conducts the Melbourne Symphony Orchestra tonight! (and he did yesterday, too!)

Wagner: Das Rheingold (Final Scene)
Wagner: Die Walkuere (Ride of the Valkyries)
Wagner: Wotan's Farewell and Magic Fire Music
BEETHOVEN: SYMPHONY NO. 9

Bass-baritone Bryn Terfel to sing throughout!

I attended yesterday's concert and they are repeating it tonight. It's sold out, but will air on the radio live (either 3MBS or ABC). TAKE A LISTEN!

It was amazing.


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## Art Rock

Just attended an amateur performance of stunning quality: Faure's Requiem in the version for two soloists, chamber choir and organ in the local church. Incredibly beautiful.


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## ComposerOfAvantGarde

Went to see the Australian Chamber Orchestra play a bunch of stuff from the Weimar Republic presented by Barry Humphries, one of the rediscoverers of this music and someone who has even met a number of the composers!


----------



## Celesta

Went to the New Jersey Symphony perform The Planets. The playing was fine but the local theatre was so small that the music felt constrained. Still, hearing this piece live was ear-opening and I bought the Dutoit/MSO cd the next day.


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## ComposerOfAvantGarde

Just came back from Nixon in China.


----------



## Skilmarilion

Just got back from seeing the Orchestre de la Suisse Romande with Neeme Jarvi perform Part's 'Silhouette', Grieg's Piano Concerto (Boris Berezovsky as soloist) and Tchaikovsky's 6th. I hadn't seen any of these works live before. It was a very, very enjoyable concert. Berezovsky's playing of the Grieg was exquisite, although I thought the tempo throughout the whole concerto was slightly rushed. The Pathetique was fantastically performed - emotive and powerful when it needed to be. 

It was amazing that after the Pathetique, Jarvi addressed the audience and announced that they would perform Part's 'Cantus in Memoriam Benjamin Britten' as an encore! The man has charisma in abundance.


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## Vaneyes

Anderszewski concert review. Wish we all had been there. 

http://www.guardian.co.uk/music/2013/may/26/piotr-anderszewski-review


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## apricissimus

Yesterday I went to the sweltering Arlington St. Church in Boston to hear the Nix Ensemble put on a program of Hindemith compositions, both musical and, er, dramaturgical.

Well, sort of. Between the musical pieces they played, they and volunteers from the audience read parts from a farcical play that Hindemith wrote as a young man (and was obviously never intended to be staged). It's about a disgruntled bank employee who tries to murder his boss by learning to play the viola so badly that his playing is literally lethal. I read the part of the detective in Act 4; my wife read the part of the protagonist. It was a lot of fun.

http://www.bostonglobe.com/arts/mus...l-hindemith/W1FS0uWjG0gYfwAL2NzfLP/story.html


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## Selby

The last concert I attended was the Oregon Symphony, Carlos Kalmar conducting Stravinsky's Circus Polka and Petrouchka; Joaquín Rodrigo's Concierto Andaluz with the LA Guitar Quartet accompanying; The LA Guitar Quartet playing their orchestration of Manuel de Falla's El amor brujo.

It was a wonderful show! I gained a new respect for Petrouchka, which is often neglected. On a side note, the LA Guitar Quartet, though playing beautifully, looked bored out of their minds - not the best showmanship, I think they've grown very weary of playing the same pieces year in and out.

The Oregon Symphony recently released their new seasons schedule; I try to attend once a month, but am not always successful.

A few I am excited about (hopefully) attending are:

Takemitsu's From me flows what you call Time; Rimsky-Korsakov's Scheherazade 

Schubert's 9th; Stravinsky's Violin Concerto (Augustin Hadelich)

Debussy's Nocturnes; Rachmaninov's 2nd Piano Concerto (Arnaldo Cohen)

Stravinsky's Firebird (complete); Sibelius's Violin Concerto (Joshua Bell)

& 

Mahler!!! Das lied von der Erde!!!!! (Ruxandra Donose, Anthony Dean Griffey)

I am so excited about seeing Das lied, it will be my first!


----------



## Ebab

*Stefan Mickisch: "Tristan und Isolde" - talk and excerpted piano transcriptions*

The Bayreuth congregation knows him: Stefan Mickisch is a pianist, musicologist, Wagner enthusiast, smart, finds _precise_ words; is a fun guy with a dry wit; fetches his associations from _everywhere_, reverential or not. He does introductions on Wagner, sitting at the piano, illustrating his points playing, and offering larger excerpts of his own transcriptions. People seem to like him.

This was the first time I've seen him "live", at the Munich Gasteig, and I did like him too. Over the year 2013, he's giving a full cycle on the ten major Wagner operas, and today it was about "Tristan und Isolde". It was also an event initiated by a Richard Wagner association, and I was glad I'm not a full Tristan novice - for me, this was quite advanced. But I did get most of the stuff that he fetched from Mozart, Beethoven - or Strauss, Schönberg, but mostly from Wagner's own work in general, and the thematic cross-references and transformations within Tristan itself in particular (please, don't examine me though).

I'm absolutely not a critic on pianists either, but what he offered as transcriptions did get to me, and closely. Even among the non-Wagner-haters on TC, some frown upon the supposedly overrated overture or the Liebestod. Not that I really needed confirmation, but Mickisch's way of fileting them down to the bare, particularly, harmonics had, upon me, the greatest effect.

A memorable matinée, and I'll try to see the guy again soon.


----------



## Selby

This Friday I will be attending a performance of a less known piece, it's kind of esoteric, I'm not sure any of you will have heard of it: Mass in B minor by some dude named Joe. I just hope it doesn't sound _too_ modern - you know, like all that noise stuff 

It is the climax of the BachFest PDX here in Portland. Helmuth Rilling conducting.

http://oregonbachfestival.com/events/detail/2231/


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## ComposerOfAvantGarde

I've been to quite a number of concerts in the last two months, the most memorable was probably this.....

Melbourne Symphony Orchestra conducted by Benjamin Northey
Copland: Appalachian Spring (original version)
Copland: 8 Poems of Emily Dickinson (Emma Matthews, sop)
Paul Stanhope: Piccolo Concerto (world premiere, can't remember the piccolo player)
Stravinsky: Firebird Suite


----------



## ComposerOfAvantGarde

In the last week or so I've been to see....

Melbourne Symphony Orchestra conducted by Alexander Shelley
Christopher Rouse: Der gerettete Alberich (a fantasy for percussionist and orchestra); Colin Currie, percussion
Wagner (arr. Henk de Vlieger): Tristan und Isolde—An Orchestral Passion (Australian premiere)

Australian Chamber Orchestra directed by Patricia Kopatchinskaya
Mozart: Adagio and Fugue KV546
Bach: Concerto for Three Violins BWV1064
Mendelssohn: Violin Concerto no. 1
Ginastera: Concerto for Strings op. 33

And also I have seen Sondheim's "Sunday in the Park with George" twice (Tuesday evening and Saturday afternoon, it was better on Tuesday when the horn didn't miss two notes.)


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## EllenBurgess

i went to a live concert of pitbulls today in california that was really an awesome one to listen up


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## Radames

I was in Ottawa the other day and heard a new piece by Frédéric Chiasson called Urbania played by the Orchestre de la Francophonie. It was actually tonal and not at all dissonant. Fun!


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## realdealblues

I just ordered a couple tickets to the closest Symphony near me (about 45 minutes away) for October. They aren't "world class" but for $22 a ticket and for good seats I'm not going to complain. Anyway on the bill is:

Beethoven: Violin Concerto
Sibelius: Symphony No. 5

I look forward to hearing both works.


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## Selby

realdealblues said:


> I just ordered a couple tickets to the closest Symphony near me (about 45 minutes away) for October. They aren't "world class" but for $22 a ticket and for good seats I'm not going to complain. Anyway on the bill is:
> 
> Beethoven: Violin Concerto
> Sibelius: Symphony No. 5
> 
> I look forward to hearing both works.


What orchestra? Michigan Philharmonic?


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## realdealblues

Mitchell said:


> What orchestra? Michigan Philharmonic?


It's the Battle Creek Symphony. I saw them last year for the first time. It's a fairly small orchestra, but they did a nice job. They only do like 5 one night shows a year.

I usually go to Grand Rapids who I feel have a really good orchestra. They usually have a dozen shows on both Friday & Saturday Nights, but their tickets are more expensive and it's also a longer drive (2 hours). I usually try to catch at least one show up there a year though. I'm hoping to go to their performance of Mozart's Requiem at the end of the year.


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## Selby

Lang Lang will be performing Prokofiev’s Third Piano Concerto under Carlos Kalmar and the Oregon Symphony next month.

Should I? Should I not? I honestly don't have a strong opinion on Mr. Lang, I've listened to some of his Chopin and didn't feel strongly either way about it. He seems to be a performer that inspired such strong reactions, which I think is why I'm feeling interested. The Prokofiev piece, is, of course, worthy in it's own right.

Thoughts?


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## Blancrocher

Mitchell said:


> Thoughts?


I'd attend, especially with the right company--it's a showpiece, and he's a showman! If you don't enjoy him in this repertoire, you could probably write him off in the future.


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## Radames

Mitchell said:


> Lang Lang will be performing Prokofiev's Third Piano Concerto under Carlos Kalmar and the Oregon Symphony next month.
> 
> Should I? Should I not? I honestly don't have a strong opinion on Mr. Lang, I've listened to some of his Chopin and didn't feel strongly either way about it. He seems to be a performer that inspired such strong reactions, which I think is why I'm feeling interested. The Prokofiev piece, is, of course, worthy in it's own right.
> 
> Thoughts?


I don't think he's all he's cracked up be be but he's not a hack. And you don't hear that Prokofiev concerto often enough. Go!


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## Pyotr

*Daniil Trifonov*

What do you think of him? Saw him perform last week at the summer closing concert of the SPAC. He was introduced as the "greatest young concert pianist in the world." Do you think that there's any truth to this statement, or is it just typical American hyperbole?(I always thought it was Burroughs  )
He played Rachmaninoff's famous piano concerto and he actually came out and did two encores, which was surprising because I didn't think they did encores at classical music concerts(I am somewhat new to this). I enjoyed it immensely.


----------



## Radames

Pyotr said:


> What do you think of him? Saw him perform last week at the summer closing concert of the SPAC. He was introduced as the "greatest young concert pianist in the world." Do you think that there's any truth to this statement, or is it just typical American hyperbole?(I always thought it was Burroughs  )
> He played Rachmaninoff's famous piano concerto and he actually came out and did two encores, which was surprising because I didn't think they did encores at classical music concerts(I am somewhat new to this). I enjoyed it immensely.


 I go to concerts all the time. I was at SPAC that night and Trifonov was awesome! 
It doesn't happen that often but I have heard several pianists do encores. Last year at SPAC Ohlsson did an encore. But it was nowhere near as spectacular as the one Trifonov did last weekend. I though the keyboard would catch fire!

Trifonov is quit the wunderkind. In 2011 he won back-to-back gold medals at the Tchaikovsky and Arthur Rubinstein International Competitions - just weeks after winning a bronze medal at the Chopin Competition. I also heard him in Boston ( doing Tchaikovsky 1) and Ottawa doing( Liszt 1 )during the last season.


----------



## Taggart

We're booked for a session with Norwich Baroque on 7th Sept with Dame Emma Kirkby and Michael Chance CBE in Norwich Cathedral. They're still trying to sell the last few (non-reserved) places.

The programme will include a Vivaldi string concerto and a Corelli Concerto Grosso, plus Vivaldi's Stabat Mater (with Michael Chance), Leonardo Leo's Salve Regina (Emma Kirkby) and Pergolesi's haunting beautiful Stabat Mater with both our soloists. 

As Baroque nuts, we're looking forward to it.


----------



## Pantheon

The last concerts I went to were :

Strauss (R) : Elektra, Paris Orchestra conducted by Esa Pekka-Salonen 
Cavalli : Elena 

An arrangement of Mahler's Adagietto (Symphony no.5) for solo piano, Beethoven's Sonata no. 23, played by Alexandre Tharaud. 
A series of works including Poulenc's sonata for cello and piano, Ravel's Tzigane and works for flute by Pécou. I actually ended up talking to Emmanuel Pahud, one of the greatest flotists.


----------



## ComposerOfAvantGarde

I recent saw Piazzolla's Maria de Buenos Aires which was awesome!


----------



## Radames

The fall season finally started with A Far Cry playing Suk, Klein and Mozart in Boston's Jordan Hall Saturday. Two weeks without a concert give me withdrawal! It was a wonderful concert too. I was not familiar with Gideon Klein. He died very young at the end of WWII in a German labor camp. His Partita for strings was pretty dark, but interesting. It was a great way to hear a Mozart Symphony - by a small orchestra (30) in a small hall.

The Mozart 38th Symphony only has 3 movements and that confused people - especially since the program book said it had 4! So at the end I went to clap but then hesitated since no one else did. Finally someone did and we gave them a long ovation.


----------



## Pantheon

The other day I was invited to an open air, totally free concert in the street where a pianist was performing an Ancient Chinese work transcribed for piano and Rachmaninov's Sonata no.2 ... What a treat !


----------



## OboeKnight

Heard the Cleveland Orchestra do Beethoven's Emperor Piano Concerto and Mahler 4 this past weekend. It was so good! Helene Grimaud was soloist. There is so much power in that orchestra.


----------



## realdealblues

Just got back from the Battle Creek Symphony.

They did Beethoven's Violin Concerto followed by Sibelius Symphony No. 5.

A few rough spots here and there but overall pretty good. I saw a few people leave after the Beethoven Violin Concerto which was kind of surprising to me. I didn't think Sibelius would be too difficult for most people. It's also kind of funny because my friend who went with me (who knows nothing about classical music) didn't really care much for the Violin Concerto other than the final movement. He said it was music to fall asleep too...lol. But on the other side, he really liked Sibelius's Symphony No. 5 and thought it was "way better" as he put it.


----------



## KenOC

I think some people are put off by the first movement of Ludwig's Violin Concerto, which is way long. Not me, though!


----------



## realdealblues

KenOC said:


> I think some people are put off by the first movement of Ludwig's Violin Concerto, which is way long. Not me, though!


I don't mind it either. But his entire listening experience has been pretty limited. So far he's heard:
Mahler's 6th
Mahler's 7th
Mahler's 8th
Beethoven's 7th
Beethoven's Violin Concerto
Sibelius's 5th

His favorite so far was Mahler's 6th.

Next month we're going to see Mozart's Requiem and I have a feeling that will probably be his new favorite.


----------



## Bas

realdealblues said:


> I don't mind it either. But his entire listening experience has been pretty limited. So far he's heard:
> Mahler's 6th
> Mahler's 7th
> Mahler's 8th
> Beethoven's 7th
> Beethoven's Violin Concerto
> Sibelius's 5th
> 
> His favorite so far was Mahler's 6th.
> 
> Next month we're going to see Mozart's Requiem and I have a feeling that will probably be his new favorite.


I think the Violin Concerto is wonderful, but for an unexperienced listener it is perhaps not too overwhelming, spectacular (Beethoven 5 has much more firework, but I like it less, musically. Which of course is an entirely subjective observation and can very well be due to the fact that I, in general, prefer concertos with a soloist over symphonies)

On the requiem:
Nice. It is a work high on the list of things I want to hear live. Who's conducting, playing?


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## realdealblues

Bas said:


> On the requiem:
> Nice. It is a work high on the list of things I want to hear live. Who's conducting, playing?


That one is at the Grand Rapids Symphony with Conductor David Lockington. They're the best Orchestra that is around me and they've never disappointed me so it should be a good performance.


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## Radames

realdealblues said:


> That one is at the Grand Rapids Symphony with Conductor David Lockington. They're the best Orchestra that is around me and they've never disappointed me so it should be a good performance.


Is the turnout usually good?

I was in Montreal last night for Steven Hough playing the Mendelssohn 1st piano concerto. There were many empty seats. It's too bad - that concerto should be played more often in concert. It's a lot of fun. And I would think Hough is a famous enough guy to draw a crowd.


----------



## realdealblues

Radames said:


> Is the turnout usually good?
> 
> I was in Montreal last night for Steven Hough playing the Mendelssohn 1st piano concerto. There were many empty seats. It's too bad - that concerto should be played more often in concert. It's a lot of fun. And I would think Hough is a famous enough guy to draw a crowd.


Yeah, I would have thought Hough would have drawn a good crowd and I would think Montreal would draw a good crowd anyway. You never know I guess. I'd have gone if I lived in Montreal...lol.

The last time I went to Grand Rapids was for Mahler's 8th and it was pretty much packed. I think I went to the Saturday Night show too. I've never been to the Friday Night show because by the time I get out of work and drive there it would already be halfway through the show so I don't know how the turnout would be on Friday, but it's usually good on Saturday.

The one in Battle Creek that I just went to was only probably between 1/2 to 3/4 full, but that's a much smaller city.


----------



## Radames

realdealblues said:


> Yeah, I would have thought Hough would have drawn a good crowd and I would think Montreal would draw a good crowd anyway. You never know I guess. I'd have gone if I lived in Montreal...lol.
> 
> The last time I went to Grand Rapids was for Mahler's 8th and it was pretty much packed. I think I went to the Saturday Night show too. I've never been to the Friday Night show because by the time I get out of work and drive there it would already be halfway through the show so I don't know how the turnout would be on Friday, but it's usually good on Saturday.
> 
> The one in Battle Creek that I just went to was only probably between 1/2 to 3/4 full, but that's a much smaller city.


The new hall in Montreal only eats 1900 - vs 3000 for the old hall. It looked to me like only 1400 people showed up for Hough. That really would have looked empty in the old hall. I will see what kind of turnout there is tonight. It;s Nézet-Séguin conducting - and they love their native boy up there.


----------



## Vaneyes

Radames said:


> The new hall in Montreal only eats 1900 - vs 3000 for the old hall. It looked to me like only 1400 people showed up for Hough. That really would have looked empty in the old hall. I will see what kind of turnout there is tonight. It;s Nézet-Séguin conducting - and they love their native boy up there.


No doubt, the program as a whole plus Nathan Brock conducting had much to do with the lower-than-usual attendance.

Mendelssohn:_ A Midsummer Night's Dream_, Overture
Hatzis: _The isle is full of noises_, World premiere - OSM commission inspired by Shakespeare
Mendelssohn: Piano Concerto No. 1
Prokofiev: _Romeo and Juliet_, Suite

L'Orchestre Symphonique de Montréal 
Nathan Brock, conductor in residence 
Stephen Hough, piano

Seating is 2100 when including an optional 200 in the choral seating area. Significant acoustical improvement was the trade-off for fewer seats, which I'll always agree with.


----------



## whiteroses

A few years ago, Leonidas Kavakos performed LvB's VC with the BPO under Mehta. The best reading I've ever heard. His musicality, phrasing, tone was superlative. He followed it up with an encore of Bach partita (Sarabande) which was sublime. The full recording is on digital concert hall. A small clip is on YT 



 and the full length interview with Kavakos and his analysis of the VC is free on digital concert hall but short clip is here 



. Enjoy!! A lot of us did


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## mstar

How do you find concerts, especially ones at least moderately priced? I tried www.bachtrack.com, but not enough information....

Or should this be a thread? (Someone else may have to start it - I'm on temporary retirement from threads *cough*_polls_*cough* :lol:


----------



## Vaneyes

mstar said:


> How do you find concerts, especially ones at least moderately priced? I tried www.bachtrack.com, but not enough information....
> 
> Or should this be a thread? (Someone else may have to start it - I'm on temporary retirement from threads *cough*_polls_*cough* :lol:


Googling "classical concerts" followed by the name of the city or community should do it. Many have discounted late-seating prices.

Re world-class performers, chamber music is often the best value, especially when universities book them. :tiphat:


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## mstar

Vaneyes said:


> Googling "classical concerts" followed by the name of the city or community should do it. Many have discounted late-seating prices.
> 
> Re world-class performers, chamber music is often the best value, especially when universities book them. :tiphat:


Sister is at BU, so BSO's probably a good one.... I'll look at that one, thanks.


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## Pyotr

mstar said:


> How do you find concerts, especially ones at least moderately priced? I tried www.bachtrack.com, but not enough information....


Look in the weekend or entertainment section of your newspaper(remember those?). Around here it comes on Friday. There's usually a section called "CLASSICAL MUSIC". As senior tees mentioned, you're bound to get a better price on chamber music that doesn't require a full-blown orchestra.

Good luck!


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## Vaneyes

mstar said:


> Sister is at BU, so BSO's probably a good one.... I'll look at that one, thanks.


FYI Princeton's (New Jersey) 2013/14 CM concert listings...

http://issuu.com/princetonuniversityconcerts/docs/puc_2013-2014_brochure_for_web?e=3117167/2302856


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## ComposerOfAvantGarde

Went to see another Australian Chamber Orchestra concert, this time the orchestra was augmented to perform some romantic warhorses:

Dvorak: Cello Concerto, with Steven Isserlis as soloist
There was an encore, I don't know what on earth it was but it was very short and fast and played entirely pizzicato
Interval
Brahms: Symphony no. 4


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## hreichgott

realdealblues said:


> I don't mind it either. But his entire listening experience has been pretty limited. So far he's heard:
> Mahler's 6th
> Mahler's 7th
> Mahler's 8th
> Beethoven's 7th
> Beethoven's Violin Concerto
> Sibelius's 5th


At first I thought you meant that was one concert program 

I mean, I'd go, but I'd need to bring supplies.


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## Taggart

Just been to a lovely concert with our local Baroque group.










They ditched the Sammartini for Corelli Op 6 No 2. This was followed by a lyrical Vivaldi bassoon concerto (RV498) - the soloist was Hayley Pullen. The first half closed with some Alessandro Marcello.

The second half started with a reconstruction of a Bach concerto for oboe and violin (BWV 1060) from a reduction for two harpsichords. This was absolutely divine. The piece also involved some supporting pizzicato - almost as a continuo - and Ingenue was surprised to find a pizzicato piece she liked. The playing of the lead violinist (and director) Rachel Stroud was particularly remarkable. The second piece was a sprightly effort by Pieter Hellendaal - a Dutch violinist who worked as an organist in Kings Lynn and Cambridge. The evening closed with Handel's Op3 No3 . This included both the bassoon and the oboe and provided a fitting close to an excellent evening.

The excellent oboist was Joel Raymond , who also designs and makes period woodwind instruments. His performance was superb throughout and a pleasure to listen to.


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## Radames

mstar said:


> How do you find concerts, especially ones at least moderately priced? I tried www.bachtrack.com, but not enough information....
> 
> Or should this be a thread? (Someone else may have to start it - I'm on temporary retirement from threads *cough*_polls_*cough* :lol:


School orchestras are either cheap or free. They have free concerts at Jordan Hall in Boston often.


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## senza sordino

Tonight the Vancouver Symphony Orchestra performed
Cosi Fan Tutti Overture, Mozart
Trumpet Concerto, Haydn
Symphony #92, Haydn

Litanies to the Black Madonna, Poulenc
Gloria, Poulenc

Simon Wright was the guest conductor. Vancouver Bach Choir 

It was a terrific concert, but there were quite a few empty seats. Gloria was performed flawlessly, terrific tuning on those tricky dissonant chords, choir and orchestra. It's nice to see a contrabassoon and bass clarinet. An organ played somewhere for atmosphere, but I don't know where the organ player was, or where the sound comes from. It sounded fabulous.


----------



## Vesteralen

We attended our first Pittsburgh Symphony concert of the season on Friday.

Kodaly's "Dances of Galanta" was replaced with Mendelssohn's Hebrides Overture for an unexplained reason. I enjoyed hearing the concert from the main floor for a change. The sound was better. The orchestra performed it well, and guest conductor Nicolaj Znaider had a good interpretive feel for the piece, I thought.

The highlight of the evening was Concert Master Noah Bendix-Balgley's playing of Bruch's Scottish Fantasy. I don't know if it was the violin itself (a 1732 Bergonzi), or the artist, but the tone was incredible.

The concert concluded with Schumann's 4th Symphony. The interpretation was exciting and dramatic, with nicely judged tempos and balance, but the orchestral playing was a bit ragged at times. If I had to guess, I would say that they didn't rehearse it enough. I'm not used to hearing this orchestra make so many mistakes. A bit disappointing, but, hey, they got 99% of the notes right, and I'd rather hear something exciting and ragged than perfect and bland.


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## Winterreisender

Yesterday I went to a thoroughly enjoyable all Beethoven performance. I never get tired of hearing the 5th!


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## Vaneyes

senza sordino said:


> Tonight the Vancouver Symphony Orchestra performed
> Cosi Fan Tutti Overture, Mozart
> Trumpet Concerto, Haydn
> Symphony #92, Haydn
> 
> Litanies to the Black Madonna, Poulenc
> Gloria, Poulenc
> 
> Simon Wright was the guest conductor. Vancouver Bach Choir
> 
> It was a terrific concert, but *there were quite a few empty seats*. Gloria was performed flawlessly, terrific tuning on those tricky dissonant chords, choir and orchestra. It's nice to see a contrabassoon and bass clarinet. An organ played somewhere for atmosphere, but I don't know where the organ player was, or where the sound comes from. It sounded fabulous.


"Babe" Benedetti will fill those seats November 2 - 4. 

http://www.vancouversymphony.ca/artist/nicola-benedetti/


----------



## senza sordino

Vaneyes said:


> "Babe" Benedetti will fill those seats November 2 - 4.
> 
> http://www.vancouversymphony.ca/artist/nicola-benedetti/


I'll be there in one of those seats!


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## KenOC

Just got my tickets in the mail for a Sunday concert by the Estonian National Symphony Orchestra, Neeme Jarvi cond. Part's Cantus in memory of Benjamin Britten, Dvorak's Cello Concerto, and Sibelius's Symphony No. 5. This is in a superb smaller hall about ten minutes by surface roads from where I live.

http://www.performingarts.soka.edu/.../11/Estonian National Symphony Orchestra.aspx


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## maestro57

Vivaldi and Mozart tomorrow (and the day after, and the day after) in Melbourne, Australia! Woohoo!


----------



## Radames

KenOC said:


> Just got my tickets in the mail for a Sunday concert by the Estonian National Symphony Orchestra, Neeme Jarvi cond. Part's Cantus in memory of Benjamin Britten, Dvorak's Cello Concerto, and Sibelius's Symphony No. 5. This is in a superb smaller hall about ten minutes by surface roads from where I live.
> 
> http://www.performingarts.soka.edu/.../11/Estonian National Symphony Orchestra.aspx


The Estonians are coming east in Novermber. I am going to hear them play in the Troy Music Hall. Jarvi is leaving the tour after the NYC performance though so it will be another conductor for my concert. Nikolai Alexeev conducting:
Tormis. Overture No 2
Sibelius. Symphony No 5
Tchaikovsky. Symphony No 5 in E Minor

Wish there was some Tubin on the program.


----------



## Guest

I attended Gil Shaham's solo recital, or part of it, last night. I left after Sonata No.1--never have I heard such rushed, mechanical playing. His pitch accuracy and tone were fine, but I kept wondering if the music meant nothing to him or if he were double-parked in a red zone.

J.S. Bach Violin Sonata No.1 in G Minor, BWV 1001
J.S. Bach Partita No. 1 for Solo Violin in B Minor, BWV 1002

Intermission

William Bolcom Suite No. 2 for Solo Violin
J.S. Bach Partita No. 3 in E Major, BWV. 1006


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## senza sordino

Last night I saw the Vancouver Opera production of Tosca. Fantastic. One of the few things that can bring tears to my eyes is Puccini. In the final act as Tosca is walking along the rampart from which she'll jump, I saw her look down. She was just checking to be sure the stage hands had remembered to place the hidden mattress. Subtle, but I saw her check. No problem. Takes a lot of courage to sing and fall backwards a few metres at the same time. 

This afternoon I saw the Vancouver Symphony perform. Nicola Benedetti played the Bruch Scottish Fantasy. She read the sheet music, and missed at least a half dozen notes. Not a great performance. Usually soloists memorize their work.
In addition the orchestra played Mendelssohn 3rd Symphony and Debussy Scottish March on a Popular Theme. A Scottish themed concert, but no bagpipes or kilts. The guest conductor was Jun Markl. It looked like every beat was a downbeat, like he was conducting a brass marching band. And the orchestra was too loud during The Bruch. The orchestra sounded great, despite what he was doing in front of them.

Thumbs up to the opera, thumbs down to the symphony concert.


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## Winterreisender

On Saturday I went to a concert in Hamburg Laeiszhall consisting of music for String Octet, played by the double team of the Arcanto Quartett and Tetzlaff Quartett:

Dmitri Schostakowitsch: Zwei Stücke für Streichoktett op. 11
Felix Mendelssohn Bartholdy: Streichoktett Es-Dur op. 20
George Enescu: Oktett C-Dur op. 7

The other theme of the concert was that the pieces were all composed by very young composers.

The string octet is a very powerful sound, especially when dealing with a piece like the Mendelssohn where so many intricate parts are existing simultaneously.


----------



## Vaneyes

senza sordino said:


> Last night I saw the Vancouver Opera production of Tosca. Fantastic. One of the few things that can bring tears to my eyes is Puccini. In the final act as Tosca is walking along the rampart from which she'll jump,* I saw her look down. She was just checking to be sure the stage hands had remembered to place the hidden mattress. Subtle, but I saw her check.* No problem. Takes a lot of courage to sing and fall backwards a few metres at the same time.
> 
> This afternoon I saw the Vancouver Symphony perform. Nicola Benedetti played the Bruch Scottish Fantasy. *She read the sheet music, and missed at least a half dozen notes. Not a great performance. Usually soloists memorize their work.
> *In addition the orchestra played Mendelssohn 3rd Symphony and Debussy Scottish March on a Popular Theme. A Scottish themed concert, but no bagpipes or kilts. *The guest conductor was Jun Markl. It looked like every beat was a downbeat*, like he was conducting a brass marching band. And the orchestra was too loud during The Bruch. The orchestra sounded great, despite what he was doing in front of them.
> 
> Thumbs up to the opera, thumbs down to the symphony concert.


Good reporting, ss. Thanks for that. :tiphat:


----------



## Radames

KenOC said:


> Just got my tickets in the mail for a Sunday concert by the Estonian National Symphony Orchestra, Neeme Jarvi cond. Part's Cantus in memory of Benjamin Britten, Dvorak's Cello Concerto, and Sibelius's Symphony No. 5. This is in a superb smaller hall about ten minutes by surface roads from where I live.
> 
> http://www.performingarts.soka.edu/.../11/Estonian National Symphony Orchestra.aspx


So what did you think of the Estonians? I went on Monday to hear them in the wonderful Troy Music Hall. They were great. Sibelius sounds especially good in that acoustic.


----------



## KenOC

Radames said:


> So what did you think of the Estonians? I went on Monday to hear them in the wonderful Troy Music Hall. They were great. Sibelius sounds especially good in that acoustic.


Radames, my experience with the Estonians was mixed. I suspect they may have been a bit jet-lagged. The Part was good except the bell was whacked way too hard for my taste. The Dvorak was pretty ragged, with frequent ensemble problems where the rhythms got tricky (the soloist was good). The Sibelius was the best performance and got a rousing ovation. They played the Andante Festivo as an encore.

Sounds from your report like they got these things ironed out, which is good. Glad you enjoyed!


----------



## hreichgott

Springfield (MA) Symphony Orchestra last night, Kevin Rhodes conducting:
Mozart "Paris" symphony no. 31 in D major
Saint-Saens "Carnival of the Animals" with Kathryn Brown and Deborah Moriarty on pianos and Kevin Rhodes theatrically reading the Nash poems
Satie "Trois Gymnopedies" arranged for orchestra and two pianos by Debussy (Brown and Moriarty on pianos)
Mozart Concerto no. 10 for two pianos with clanking radiator obbligato (Brown and Moriarty on pianos, radiator on radiator)

Rhodes is a very engaging interpreter. His years of ballet conducting experience show -- everything has an excellent rhythmic drive, light and dancing in the Paris symphony, subtly and gently pulsing in the Gymnopedies, appropriately Offenbachian in the Carnival of the Animals. The pianists, both extremely experienced with many honors to their credit, were seated facing the conductor with no lids on the pianos, so the sound was more a part of the orchestra and less out-in-front than I might have liked, but they made a wonderful addition to the orchestra and played with fluidity and sparkle if not great depth.

Now about the radiator. If you would like to have something akin to our experience during the second movement of the Mozart two-piano concerto, follow these steps:
1.) Get two large pots and two metal spoons.
2.) Give one of each to a friend and position the friend in the next room.
3.) Click here: 



4.) At random intervals of 5 to 30 seconds, either you, your friend or both should loudly bang your respective pots with spoons.


----------



## ComposerOfAvantGarde

The second last Australian Chamber Orchestra concert I'm going to this year. 

Rautavaara: A Finnish Myth
Denisov: Five Paganini Caprices (no. 9)
Göran Fröst: DTangled (Martin Fröst, soloist)
Mozart: Symphony no. 21

Brenton Broadstock: Never Truly Lost
Mozart: Clarinet Concerto (Martin Fröst, soloist)
With an encore, an arrangement of one of the Brahm's Hungarian dances arranged for clarinet and string orchestra.


----------



## ShropshireMoose

Tonight this Moose of Shropshire is taking himself to the Abbey in Shrewsbury to hear the Shrewsbury Symphony Orchestra conducted by John Moore in the following programme:

Brahms: Academic Festival Overture
Brahms: Violin Concerto (soloist: Tasmin Little)
Berlioz: Symphonie Fantastique

A nice programme, to which I am very much looking forward.


----------



## Radames

hreichgott said:


> Springfield (MA) Symphony Orchestra last night, Kevin Rhodes conducting:
> Mozart "Paris" symphony no. 31 in D major
> Saint-Saens "Carnival of the Animals" with Kathryn Brown and Deborah Moriarty on pianos and Kevin Rhodes theatrically reading the Nash poems
> Satie "Trois Gymnopedies" arranged for orchestra and two pianos by Debussy (Brown and Moriarty on pianos)
> Mozart Concerto no. 10 for two pianos with clanking radiator obbligato (Brown and Moriarty on pianos, radiator on radiator)
> 
> Rhodes is a very engaging interpreter. His years of ballet conducting experience show -- everything has an excellent rhythmic drive, light and dancing in the Paris symphony, subtly and gently pulsing in the Gymnopedies, appropriately Offenbachian in the Carnival of the Animals. The pianists, both extremely experienced with many honors to their credit, were seated facing the conductor with no lids on the pianos, so the sound was more a part of the orchestra and less out-in-front than I might have liked, but they made a wonderful addition to the orchestra and played with fluidity and sparkle if not great depth.
> 
> Now about the radiator. If you would like to have something akin to our experience during the second movement of the Mozart two-piano concerto, follow these steps:
> 1.) Get two large pots and two metal spoons.
> 2.) Give one of each to a friend and position the friend in the next room.
> 3.) Click here:
> 
> 
> 
> 4.) At random intervals of 5 to 30 seconds, either you, your friend or both should loudly bang your respective pots with spoons.


Yes I was there too. That damn radiator!!!! I like that hall though - many good orchestras have to play in school auditoriums that aren't so good - like Nashua and Glens Falls.

Last year at the Albany Symphony the fire alarm went off during a piece for about 5 minutes!


----------



## Vaneyes

ShropshireMoose said:


> Tonight this Moose of Shropshire is taking himself to the Abbey in Shrewsbury to hear the Shrewsbury Symphony Orchestra conducted by John Moore in the following programme:
> 
> Brahms: Academic Festival Overture
> Brahms: Violin Concerto (soloist: Tasmin Little)
> Berlioz: Symphonie Fantastique
> 
> A nice programme, to which I am very much looking forward.


Antlers are restricted to balcony.


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## realdealblues

Very much looking forward to seeing Mozart's Requiem tomorrow night in Grand Rapids.  Didn't think I would ever get the chance. Hopes are high so hopefully I won't be disappointed.


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## DavidA

Just booked tickets for Britten's War Requiem. Never heard it in concert so looking forward to it.


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## ShropshireMoose

Vaneyes said:


> Antlers are restricted to balcony.


Love it! Thank you Mr. Vaneyes for your consideration of audience members! The concert was very good. The Shrewsbury Symphony Orchestra are an amateur orchestra, but a pretty good one. Tasmin Little gave a really superb reading of the Brahms, which I enjoyed very much, and the interpretation of the Berlioz was pretty dashed good too. Their clarinettist is superb and really shone in the last movement of the Symphony- a movement that always makes the hairs on the back of my neck stand on end! What a supreme achievement this symphony was, only three years after Beethoven's death, and Berlioz only 27, wonderful.


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## Vaneyes

DavidA said:


> Just booked tickets for Britten's War Requiem. Never heard it in concert so looking forward to it.


It'll easily surpass any recording you've heard of it. A most solemn and thrilling experience. Enjoy. :tiphat:


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## senza sordino

I have just returned from a concert of
"Serious String Quartets" by the Vetta Chamber Music. The four tonight are rotating members of the Vetta Chamber Music comprised mostly of principals from orchestras in the Pacific Northwest.

*Shostakovich #2 String Quartet, and Schubert Death and the Maiden.*

It was a terrific concert, well played, the acoustics were good in the church. They were a tight ensemble, great tone and timing. Each piece was explained before it was played, and afterward, there was a reception with food, where you could meet the players. I couldn't stay too late, so I didnt get to talk to the players, because it was more than an hour cross town by bus and train to get home. I thoroughly enjoyed the evening.


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## realdealblues

I went and saw Mozart's Requiem Saturday evening and it was well worth the 2 hour drive.

The first work of the evening was entitled "Enter, Light" and was written by one of the Clarinetist from the Grand Rapids Symphony, Joel Schekman. It was written specifically for this program and was a piece about how the light changes during the different seasons in Michigan. It reminded me a bit of Sibelius so I liked it.

The second work of the evening was Charles Davidson's Cantata, "I Never Saw Another Butterfly" based on poetry from Jewish children in Terezin. I've never heard of this work before. I understand what it was all about and the seriousness of the subject matter and everything, but I found it rather long. There were some interesting bits and the children did a good job, but it's not something I would listen to on my own.

After a short intermission we came to the night's highlight, Mozart's Requiem. While I enjoy most recordings of the Requiem in general, I also generally prefer the Requiem with quicker tempos in the style of Marriner and Hogwood, and conductor David Lockington set the pace just the way I like it. Full of fire and passion. So many things stood out. I heard little details I haven't heard on recordings before. It was wonderful to hear it live and the sound is really great in Devos Hall. Everything came across with a nice "Full" volume which really added to the performance. A wonderful rendition and a wonderful evening. Grand Rapids still hasn't disappointed me yet.

Mlive (a Michigan thing) gave it 4 out of 4 stars. They covered the Friday night show, and you can ready their review here if you like.
http://www.mlive.com/entertainment/...2013/11/grand_rapids_symphony_choruses_1.html


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## KenOC

Concert report (originally posted on another forum): The Jasper String Quartet at the Soka, yesterday afternoon. I had never heard of them, but they're the real thing; if they show up in your neighborhood, they're well worth seeing. Their program:

Haydn Quartet Op. 76 #5, the so-called "Largo." Beautifully played -- they really "get" this music. Their intonation was stunning, the accuracy made especially obvious by the absence of vibrato, or a very narrow vibrato, in many places. Fun! Oddly, the first violin touched his bow to a string early in a few places, very tentatively, as if to see if his violin was still working. With the great acoustics at the Soka, this was clearly audible. Oh well, no harm done.

Aaron Jay Kernis, Sarabande from Quartet No. 2. This quartet won the Pulitzer in 1998. The Sarabande is not a dance movement but large, complex, and alternately still and violent. The Jaspers, who have an ongoing relationship with Kernis, played the heck out of it. But first, the violist introduced the work in some detail, which was helpful.

After the break, Beethoven's Op. 131. Excellently played from beginning to end, totally absorbing. In the last movement (usually not my favorite) they really got a head of steam going and absolutely nailed the ending. The audience was in its feet instantly. Three curtain calls, but they wouldn't give us anything for dessert.

Added: I see that the Jaspers recorded the Op. 131 about three weeks ago for Sono Luminus.


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## Radames

Not much went on in the US over Thanksgiving. Thank heaven for Canada - just a normal day up there. Shostokovich 10th Symphony by the National Arts Center Orchestra in Ottawa. First time they have played it according to the program.


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## SixFootScowl

Just attended Handel's Messiah last night. Hill Auditorium on the University of Michigan campus in Ann Arbor, Michigan. Ann Arbor Symphony Orchestra and University Musical Society Choral Union (200 voices). Whole concert was wonderful.


----------



## Rocco

TallPaul said:


> Just attended Handel's Messiah last night. Hill Auditorium on the University of Michigan campus in Ann Arbor, Michigan. Ann Arbor Symphony Orchestra and University Musical Society Choral Union (200 voices). Whole concert was wonderful.


Yes that concert was amazing! I especially liked how clear each voice in the choir was. The worst thing about it was the fact that it came to an end. :lol: Was that you TallPaul, two seats over to my right?


----------



## SixFootScowl

ClutchDisc said:


> Yes that concert was amazing! I especially liked how clear each voice in the choir was. The worst thing about it was the fact that it came to an end. :lol: Was that you TallPaul, two seats over to my right?


Wow, you really were engrossed in the concert to forget that we drove there together! :lol:


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## senza sordino

Last night I saw the Vancouver Opera's production of Albert Herring, Benjamin Britten. I listened to the pre game show one hour before. One of the people in charge gives a pre show talk about the opera and its composer. 

I really liked Albert Herring. I was surprised with the small orchestra, it didn't realize until that night that Britten scored the opera for 13 instruments only, a string quintet, a wind quintet, percussion, harp and piano. Superb playing.

The singing was great, the libretto fabulous and in English! I understood what was being sung! How great is that? They had surtitles for us, but I tried not to look. The set was very green and made to look English. We in the audience were each given a small Union Jack to wave. At intermission the bar was serving Albert's spiked lemonade. 

There is one scene I didn't quite get though. After Albert gets drunk at his May Day celebration he wanders off. He is at his shop talking to himself, and flips a coin. Then he goes off and disappears. I'm not sure what he's thinking. But maybe that's the point. 

Anyway, a smashing evening.


----------



## Vaneyes

senza sordino said:


> Last night I saw the Vancouver Opera's production of Albert Herring, Benjamin Britten. I listened to the pre game show one hour before. One of the people in charge gives a pre show talk about the opera and its composer.
> 
> I really liked Albert Herring. I was surprised with the small orchestra, it didn't realize until that night that Britten scored the opera for 13 instruments only, a string quintet, a wind quintet, percussion, harp and piano. Superb playing.
> 
> The singing was great, the libretto fabulous and in English! I understood what was being sung! How great is that? They had surtitles for us, but I tried not to look. The set was very green and made to look English. We in the audience were each given a small Union Jack to wave. At intermission the bar was serving Albert's spiked lemonade.
> 
> *There is one scene I didn't quite get though. After Albert gets drunk at his May Day celebration he wanders off. He is at his shop talking to himself, and flips a coin. Then he goes off and disappears. I'm not sure what he's thinking. But maybe that's the point.
> 
> *Anyway, a smashing evening.


Albert leaves for "adventures"...things he has not experienced in a relatively sheltered existence. Away from mom, and the prying eyes of the audience.


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## Fried fifer

Hey guys. Well damn i've seen about 12 fine art performances in the last two months or so. But most recently I saw Beethoven's 9th, twice. Saturday and Sunday at Claremont College. Claremont Concert Orchestra and Choir conducted by David Cubek. I don't know if there is much more that needs to be said. It was incredible obviously.


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## Taggart

Our first time and a thoroughly enjoyable experience. We're thinking of going again next year. The Norwich Cathedral Consort are excellent, Ashley Grote has done a fine job with them. A really great night!


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## SixFootScowl

Fried fifer said:


> But most recently I saw Beethoven's 9th, twice. Saturday and Sunday at Claremont College. Claremont Concert Orchestra and Choir conducted by David Cubek. I don't know if there is much more that needs to be said. It was incredible obviously.


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## SixFootScowl

MESSIAH!


Taggart said:


> Our first time and a thoroughly enjoyable experience. We're thinking of going again next year. The Norwich Cathedral Consort are excellent, Ashley Grote has done a fine job with them. A really great night!


Excellent! What a wonderful work. Worthy of an annual attendance to properly bring in the Christmas season.


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## LouisMasterMusic

I went to one concert at the Barbican in December. On the 17th, I went to see Handel's Messiah with the Academy of Ancient Music and Choir conducted by Bernard Labadie. The soloists were Lydia Teuscher, Iestyn Davies, Jeremy Ovenden, and Brindley Sherratt (best of them all!). Very interesting how the contralto part was sung by a counter-tenor. Of particular note was "He Shall Feed His Flock".


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## Karabiner

LouisMasterMusic said:


> I went to one concert at the Barbican in December. On the 17th, I went to see Handel's Messiah with the Academy of Ancient Music and Choir conducted by Bernard Labadie. The soloists were Lydia Teuscher, Iestyn Davies, Jeremy Ovenden, and Brindley Sherratt (best of them all!). Very interesting how the contralto part was sung by a counter-tenor. Of particular note was "He Shall Feed His Flock".


I went to the same concert, I was sat right in front of Brindley Sheratt (amazing!). Loved "The Trumpet shall Sound".


----------



## whiteroses

Hello there....Happy New Year to all. I have been away from this site for years and resolve to get involved again this year. Thought this is a good way to start. I was probably inspired to do so by the magnificent rendition of the Sibelius VC by Leonidas Kavakos the other night at the Concertgebouw here in Amsterdam. Accompanied by the ViennaPhil conducted by Chailly. How much better can you get to start off the new year!!! I must admit that I am a sort of elderly groupie following Chailly, Kavakos, Gergiev, Matsuev, around whenever possible. Happy listening and stay safe.


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## Guest

So around 4:30 PM today, out in a suburb of Dallas, there I am, raking leaves morosely with Berlioz's Symphonie Fantastique in my earbuds. Suddenly, I get a text from a buddy saying "symphony tonight?!?!?!" - basically the thing didn't sell out and they just put some last-minute tickets on sale at his school's student center (he goes to med school right near the DSO). After hastily considering the situation, I ran for the shower...and 3 hours later I found myself sitting through Brahms 2nd piano concerto


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## whiteroses

whiteroses said:


> Hello there....Happy New Year to all. I have been away from this site for years and resolve to get involved again this year. Thought this is a good way to start. I was probably inspired to do so by the magnificent rendition of the Sibelius VC by Leonidas Kavakos the other night at the Concertgebouw here in Amsterdam. Accompanied by the ViennaPhil conducted by Chailly. How much better can you get to start off the new year!!! I must admit that I am a sort of elderly groupie following Chailly, Kavakos, Gergiev, Matsuev, around whenever possible. Happy listening and stay safe.


Adding photo taken of Mr Kavakos acknowledging standing ovation at Concertgebouw on Monday 13 Jan 2014 after a stupendous performance of the Sibelius VC accompanied by the ViennaPhil under Chailly


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## ShropshireMoose

Taking myself off to Symphony Hall, Birmingham on Wednesday 22nd January, to hear the CBSO conducted by John Wilson in the following programme:

Ireland: A London Overture
Walton: Cello Concerto (soloist: Paul Watkins)
Vaughan Williams: A London Symphony

I like all these pieces, but the main attraction is the Walton Concerto, a long time favourite of mine, which I've never heard live.


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## Fried fifer

Okay another performance this Sunday in Claremont. The Claremont Young Musicians Orchestra which is an *extremely* talented group played a great set. The William Tell Overture, Mozarts Bassoon Concerto in Bb Major, Smetana's The Moldau, Gershwin's Cuban Overture(wow), and Borodin's Symphony No. 2. There absolutely aren't words, magical if i had to fit it in one. Looking forward to additional concerts in Claremont this season. Especially looking forward to hearing Le Sacre again.(saw it last season at the Hollywood Bowl).
http://www.pomona.edu/academics/departments/music/concert-calendar/music-calendar.pdf 
Here is the calender if anyone is around southern California or might be anytime soon.


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## KenOC

I will be at a Vladimir Feltsman recital Wednesday (tomrrow I guess).

Haydn Sonata 31
Schubert Sonata D.537
Liszt Ballade #2
Liszt Benediction de Dieu dans la solitude
Scriabin Vers la Flamme (Poeme)

A great venue, the Soka Performing Arts Center, near my place.


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## GioCar

I will go to La Scala tomorrow, the symphonic season:
Luigi Boccherini - Luciano Berio: Four original versions of "Ritirata notturna di Madrid"
Stefano Gervasoni: Heur, Leurre, Lueur (World Premiere)
Bela Bartok: Concerto for orchestra

Filarmonica della Scala conducted by Susanna Malkki

Beside the new work by Gervasoni, I'm curious to hear this conductor (one of the VERY few ladies of the podium). As far as I know, she is a specialist in modern/contemporary music.


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## Mahlerian

GioCar said:


> I will go to La Scala tomorrow, the symphonic season:
> Luigi Boccherini - Luciano Berio: Four original versions of "Ritirata notturna di Madrid"
> Stefano Gervasoni: Heur, Leurre, Lueur (World Premiere)
> Bela Bartok: Concerto for orchestra
> 
> Filarmonica della Scala conducted by Susanna Malkki
> 
> Beside the new work by Gervasoni, I'm curious to hear this conductor (one of the VERY few ladies of the podium). As far as I know, she is a specialist in modern/contemporary music.


She conducted Sibelius and Chin in Boston a few years back. As I remember, it was a good concert.


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## Winterreisender

ShropshireMoose said:


> Taking myself off to Symphony Hall, Birmingham on Wednesday 22nd January, to hear the CBSO conducted by John Wilson in the following programme:
> 
> Ireland: A London Overture
> Walton: Cello Concerto (soloist: Paul Watkins)
> Vaughan Williams: A London Symphony
> 
> I like all these pieces, but the main attraction is the Walton Concerto, a long time favourite of mine, which I've never heard live.


That sounds terrific. I wish I could have been there! CBSO seems to be doing more Vaughan Williams on 5th Feb, which I also have to miss


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## Vaneyes

arcaneholocaust said:


> So around 4:30 PM today, out in a suburb of Dallas, there I am,* raking leaves *morosely with Berlioz's Symphonie Fantastique in my earbuds. Suddenly, I get a text from a buddy saying "symphony tonight?!?!?!" - basically the thing didn't sell out and they just put some last-minute tickets on sale at his school's student center (he goes to med school right near the DSO). After hastily considering the situation, I ran for the *shower*...and 3 hours later I found myself sitting through Brahms 2nd piano concerto


Raking leaves, shower, but no mention of *Ms. Grimaud*?


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## Taggart

They've changed their minds about the Scotch piece. At first they thought it was Lady Mackintosh's reel - to suit the evening's theme. Now it might be by Mackenzie.


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## nightscape

2/1/14
Philadelphia Orchestra - Kimmel Center for the Performing Arts

Yannick Nézet-Séguin - Conductor
Radu Lupu - Piano

_Program:_
Smetana - "The Moldau," from Má vlast
Bartók - Piano Concerto No. 3
Dvorak - Symphony No. 6


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## Vaneyes

nightscape said:


> 2/1/14
> Philadelphia Orchestra - Kimmel Center for the Performing Arts
> 
> Yannick Nézet-Séguin - Conductor
> Radu Lupu - Piano
> 
> _Program:_
> Smetana - "The Moldau," from Má vlast
> *Bartók - Piano Concerto No. 3
> *Dvorak - Symphony No. 6


Bartok 3 is always the refreshing Lupu departure from his narrowly-focused rep, but I wish (along with countless others) that this legend would do and record more. Onyx, Nimbus, others await, if not Decca.

Bartok 3 reviews from '10 and '13...

http://www.tokafi.com/news/concert-review-radu-lupu-cincinnati-symphony-orchestra-paavo-jarvi/

http://www.theguardian.com/music/2013/nov/08/bournemouth-symphony-orchestra-dausgaard-review

Upcoming Lupu events...

http://bachtrack.com/find-concerts/performer=radu-lupu


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## ShropshireMoose

Winterreisender said:


> That sounds terrific. I wish I could have been there! CBSO seems to be doing more Vaughan Williams on 5th Feb, which I also have to miss


It was a great concert. They played Ireland's London Overture superbly, I've never heard it done better. The piece I was really looking forward to, was the Walton Cello Concerto, but in all honesty I didn't enjoy it quite so much. Whether I went with too high an expectation I'm not sure, but the warmth that Walton creates within that score seemed to be lacking somehow. I suppose Piatigorsky/BSO/Munch is a hard act to follow! So I felt slightly disappointed as I wandered about in the interval.....but then.............the London Symphony was an absolute triumph, for orchestra, conductor and composer. I've never heard it played better, the interpretation of John Wilson was outstanding, the CBSO are a wonderful orchestra, if this is a sample of how he conducts VW, then he and this orchestra ought to record a set of the symphonies. No question.
Tomorrow I go to Birmingham again, for a diverse programme from the CBSO:

Faure: Pelleas and Melisande Suite
Rachmaninoff: Paganini Rhapsody (soloist: Francesco Piemontesi)
Widor: Toccata (presumably from the 5th Symphony) (organist: Stephen Farr)
Saint-Saens: Symphony No.3 "Organ"

The conductor is Kazuki Yamada. A report will follow!


----------



## Vaneyes

ShropshireMoose said:


> It was a great concert. They played Ireland's London Overture superbly, I've never heard it done better. *The piece I was really looking forward to, was the Walton Cello Concerto, but in all honesty I didn't enjoy it quite so much. Whether I went with too high an expectation I'm not sure, but the warmth that Walton creates within that score seemed to be lacking somehow. I suppose Piatigorsky/BSO/Munch is a hard act to follow! So I felt slightly disappointed as I wandered about in the interval.....*but then.............the London Symphony was an absolute triumph, for orchestra, conductor and composer. I've never heard it played better, the interpretation of John Wilson was outstanding, the CBSO are a wonderful orchestra, if this is a sample of how he conducts VW, then he and this orchestra ought to record a set of the symphonies. No question.
> Tomorrow I go to Birmingham again, for a diverse programme from the CBSO:
> 
> Faure: Pelleas and Melisande Suite
> Rachmaninoff: Paganini Rhapsody (soloist: Francesco Piemontesi)
> Widor: Toccata (presumably from the 5th Symphony) (organist: Stephen Farr)
> Saint-Saens: Symphony No.3 "Organ"
> 
> The conductor is Kazuki Yamada. A report will follow!


I can't tell you how many concerts I've fled...rushed home and put on a recording of how-it-should-sound. Cleanses the palate, you know. :lol:


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## ShropshireMoose

Vaneyes said:


> I can't tell you how many concerts I've fled...rushed home and put on a recording of how-it-should-sound. Cleanses the palate, you know. :lol:


Reminds me of a thing I read about Neville Cardus, he said that after a Wagner marathon he always felt in need of a ritual cleansing: "He would take a taxi back to his basement flat, 112 Bickenhall Mansions, and then pour half a glass of sherry. His usual ointment for the soul was a well-worn LP waiting on the turntable: Mozart's G Minor Symphony, with Bruno Walter conducting the Columbia Symphony Orchestra." 
This from "Cardus-Celebrant of Beauty" by Robin Daniels. Not a great book, it sadly tells you rather more about its author than its subject, but there are some gems in it.


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## Vaneyes

ShropshireMoose said:


> Reminds me of a thing I read about Neville Cardus, he said that after a Wagner marathon he always felt in need of a ritual cleansing: "He would take a taxi back to his basement flat,* 112 Bickenhall Mansions*, and then pour half a glass of sherry. His usual ointment for the soul was a well-worn LP waiting on the turntable: Mozart's G Minor Symphony, with Bruno Walter conducting the Columbia Symphony Orchestra."
> This from "Cardus-Celebrant of Beauty" by Robin Daniels. Not a great book, it sadly tells you rather more about its author than its subject, but there are some gems in it.


Holmes' neighborhood. Property info with pics...

http://www.zoopla.co.uk/property/112/bickenhall-mansions/bickenhall-street/london/w1u-6bt/24995608


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## ShropshireMoose

Vaneyes said:


> Holmes' neighborhood. Property info with pics...
> 
> http://www.zoopla.co.uk/property/112/bickenhall-mansions/bickenhall-street/london/w1u-6bt/24995608


£668,000???? I don't think I'll be moving there in the immediate future! And £2335 a month? I won't even be renting. Wonder if I could sleep on the street???? No, I'll stick to Shropshire, what a lad I am!!


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## Vaneyes

ShropshireMoose said:


> £668,000???? I don't think I'll be moving there in the immediate future! And £2335 a month? I won't even be renting. Wonder if I could sleep on the street???? No, I'll stick to Shropshire, what a lad I am!!


Understood, I easily detect that The Moose is better off in Shropshire than London.

Cardus, I did not know of. I've spent a couple of hours catching up, with the aid of Google. I found it was his wife Edith King who originally took the flat at 112 Bickenhall Mansions, when they returned from Australia in 1949 . Simulataneously, he took lodging at National Liberal Club. This living apart was customary in their 47 year marriage, though often, they were so near. Daily phone calls, and dinner together once a week.

He moved into her Bickenhall Mansions flat when she died in 1968, and remained there until he died in 1975.


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## moody

Vaneyes said:


> Holmes' neighborhood. Property info with pics...
> 
> http://www.zoopla.co.uk/property/112/bickenhall-mansions/bickenhall-street/london/w1u-6bt/24995608


It's well worth reading "The Delights Of Music" The selected criticisms of Neville Cardus. It is charming and knowledgeable and I've read it countless times.


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## edge

Last night we saw superb nice concert with the Oklahoma City Philharmonic and Sarah Chang. Sarah played the Bruch violin concerto No. 1. It was just fabulous but way too short. Took the two youngest daughters out to meet her and get an autograph during intermission. She was very sweet to them.

The orchestra then played Rachmaninoff Symphony No. 2. My wife timed it at a solid hour performance but I would have bet it was closer to half of that. I'm sure our orchestra doesn't compare to some in the larger cities but you couldn't have told by the music or the audience reaction. I could have listened to it all again. It's just the right music for an Oklahoma audience and a great performance.


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## whiteroses

Last Friday 31 January 2014, I had the blissful experience to be at the Salle Pleyel in Paris to hear Leonidas Kavakos perform and conduct the following programme :

♫ *Wolfgang Amadeus Mozart *
_Concerto No. 3 in G major K 216 (1775) *_

♫ *Serge Prokofiev *
_Symphony No. 1, Classical (1916-1917) _

♫ *Franz Schubert *
_Symphony No. 9 in C major D 944 (1825) _
 
To expect nothing less than a committed, insightful and virtuosic performance from Mr Kavakos is a given - especially any one of the Mozart violin concerti as he has done so over many years. I went particularly as I was curious to see if his conducting has improved. I have seen a few You Tube excerpts and saw him conducting live once before and, I must say, it had always been a bit painful to watch his unusual and clumsy mannerisms and so detracts from appreciation of the music.

Well, Friday night's performance blew me out...and so it seems the rest of the sold out crowd. The tickets had been sold out weeks before and I was wondering whether it was a Parisian display of loyalty for the local Orchestre Philharmonic de Radio France or maybe a thousand or so people were also curious about the conducting  

Anyway - to start: I will get the very few and inconsequential negatives out of the way first: 1] cold rainy night 2] lots and lots of coughing - Concert halls should start handing out cough lollies at the beginning of shows in addition to warning to turn off cell phones! At one point. Mr Kavakos had to delay the start of a movement to let the coughing die down 3] I thought Mr Kavakos' strings were a teeny weeny little bit sounding slack in the first movement of the Mozart.

And the positives....they were huge ones!

1] Mr Kavakos conducted and performed the Mozart 3 but will not dwell on this except to say that the orchestra did not seem to need to be "conducted" as they proved to be excellent musicmaking "partners" with Mr Kavakos who with his usual self-effacing and elegant manner sent out the most heavenly tones from his violin that would have made Mozart proud . I really love that he is "just there" for the service of the music without the flamboyant showmanship that many others seem to favour that to me looks more like pained exertion rather than heartfelt music-making.

2] What Mr Kavakos lacked in showmanship when playing as soloist, he sure made up handsomely for it in conducting. Again, there was the most unorthodox style - using as much of the left hand as the right hand, he used the baton and the hands to "sculpt" the music in the air instead of just beating time. He moved his body a lot to literally and physically convey the mood, the volume, the intonation he wants from the orchestra. He'd start a movement as if he was on a track and field lane, ready to sprint; do a bit of a jig in the allegro movements, bend down low on his knees for when he wants a ppp or stretch on his toes for the fffs, signal the trumpet or trombone to prepare for entry by moving his fingers in imitation of playing the instrument, lean back and hold on to the conductor's barrier during extended tuttis - but always in magisterial command and complete mastery of the score (which he actually did not have - nor need - for the Schubert!) Whereas it used to distract me, and sometimes annoy me previously, this time I actually found that it added to my appreciation of the music...as I can literally see what is "happening" when the music was being made - I don't know how to explain it better.

3] And so to the symphonies : the Prokofiev 1 (the Classic symphony) was vibrant and exhilarating. One could hear and almost see and feel the notes joyfully flying out of those musicians' instruments with disciplined abandon (is that an oxymoron?). I marvelled at the energy and precision of the last movement vivace. Maybe other more notable orchestras and conductors may have rounded out some of the passages with a bit more finesse...but hey neither I nor the audience were complaining that night. It proved a great appetizer for what was to come after the intermission

4 Mr Kavakos had the baton (I cold not remember whether he had it for the Prokofiev) and no score for Schubert's obra maestra in C major "The Great" 9th Symphony (or #8 if you were attending the Berlin Philharmonic performance!). I was prepared for the l-o-n-g performance (usually just under an hour, but this night took much longer because Mr Kavakos took longer breaks between movements perhaps to let the incessant audience coughing die down and to give the musicians a bit of longer rest after the elongated and demanding movements). This is the first time I am hearing this piece live although I' enjoy my recording by the Royal Concergebouw under Hannoncourt. Sure, the RadioFrancePhil is not the RCO, and Kavakos is not (yet) a Hannoncourt or a Muti....but to this amateur's ears the music was just as resplendent. It was refreshing and committed. You could hear and feel the commitment from the musicians to give their best. I was very impressed with the wind and the brass section - they received great attention from the conductor and so their sound soared to beautiful heights over the hardworking strings. It was a tremendously enjoyable evening of music. And I believe that Mr Kavakos will very soon be as fine and respected conductor as he is now a marvellous and greatly admired soloist.

5 One final note about the audience and the musicians. As many of you probably observe (and sometimes get annoyed) - audiences anywhere in the world tend to rush to get their coats, cars, taxis etc at the end of the concert - no matter how much they loved and applauded the performers. Even in my local Concertgebouw, where audiences are remarkable for their knowledge and appreciation of fine music - this tends to happen too. I have been to Salle Pleyel many times and the audience there is no different, either. However, I was very much struck by the absence of this rush at the end of the evening. People stayed glued to their seats and called back the conductor several times and gave repeated boisterous applause to the individual musicians asked by Kavakos to take a bow (which they also do at other performances, I must admit) but no one was rushing to the door...that's how much they appreciated the performance.

The musicians too were just as impressed... couple of times refusing to stand up to acknowledge the audience applause preferring to let the conductor take it alone. This seems to be an eloquent gesture of appreciation and admiration they felt themselves for their guest conductor.

A thoroughly enjoyable evening of music-making...You can listen for yourself.....http://www.francemusique.fr/emissio...ue-mozart-prokofiev-et-schubert-01-31-2014-20

Til next concert....take care everybody!


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## Radames

edge said:


> Last night we saw superb nice concert with the Oklahoma City Philharmonic and Sarah Chang. Sarah played the Bruch violin concerto No. 1. It was just fabulous but way too short. Took the two youngest daughters out to meet her and get an autograph during intermission. She was very sweet to them.
> 
> The orchestra then played Rachmaninoff Symphony No. 2. My wife timed it at a solid hour performance but I would have bet it was closer to half of that. I'm sure our orchestra doesn't compare to some in the larger cities but you couldn't have told by the music or the audience reaction. I could have listened to it all again. It's just the right music for an Oklahoma audience and a great performance.


Some cities even smaller than Oklahoma City have very good orchestras. Glens Falls NY is a little dinky city population 15,000 but it has a very fine 60 player professional orchestra. I go to the Boston Symphony and Montreal Symphony all the time, but I am still very pleased listening to the Glens Falls Symphony. The problem with smaller cities is often that they don't have a good concert hall. That's the case with some very fine small city orchestras like Glens Falls, Nashua NH and Vermont Symphony. Not much can be done since good halls cost millions.


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## edge

Radames said:


> Some cities even smaller than Oklahoma City have very good orchestras. Glens Falls NY is a little dinky city population 15,000 but it has a very fine 60 player professional orchestra. I go to the Boston Symphony and Montreal Symphony all the time, but I am still very pleased listening to the Glens Falls Symphony. The problem with smaller cities is often that they don't have a good concert hall. That's the case with some very fine small city orchestras like Glens Falls, Nashua NH and Vermont Symphony. Not much can be done since good halls cost millions.


I feel we are very fortunate to have the orchestra and concert hall that we do have. They are bringing in Yo-Yo Ma in April. I know it's not a big deal to this crowd but it's a big deal in Oklahoma City!


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## Radames

edge said:


> I feel we are very fortunate to have the orchestra and concert hall that we do have. They are bringing in Yo-Yo Ma in April. I know it's not a big deal to this crowd but it's a big deal in Oklahoma City!


 I see you had Garrick Ohlsson play Brahms 1st concerto there back in November. Good deal! And Yo Yo's doing the Schumann. I like hearing Schumann - don't here him enough in concert.

I'm reading that the Civic Center Music Hall had a $50 million renovation in 2001. I hope the acoustics are good for that kind of money!!







I would love to visit someday and check it out.

Does it have an organ? I see they did Saint Saens 3rd. I heard that in Portland Maine last year and it was awsome there - the organ in that hall is terrific.


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## ShropshireMoose

Just in case it's of interest to anyone, I will be accompanying the marvellous Czech violinist Gabriela Demeterova at Picklescott Village Hall, Shropshire, on Saturday 15th March at 7.30pm. The program will include:
J.S. Bach: Partita No.3-Preludio
Beethoven: "Spring" Sonata 1st Movement
Dvorak: Romance in F Minor, Op.11/Mazurek Op.49
Sarasate: Zigeunerweisen
Saint-Saens: Introduction and Rondo Capriccioso
Brahms-Joachim: Hungarian Dances 1 and 5
Kreisler: Liebesfreud/Liebeslied/Schon Rosmarin
Trad. arr Kreisler: Londonderry Air

Tickets are £7.50 each- and include cheese and biscuits in the interval. This must be the bargain of the century!!
Picklescott is off the A49 Shrewsbury-Ludlow Road. You turn at Dorrington (right if coming from Shrewsbury/ left if from Ludlow), at Dorrington it's signed "Smethcott and Picklescott", after going down the lane for about 3 miles, you come into Picklescott. The village hall is on the right. Simple as that!


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## Radames

American Symphony at Bard College last night played the Melartin Violin Concerto with student Dongfang Ouyang soloist. Plus a 2010 work by Joan Tower called Stroke. I sat next to her. She said Naxos is recording it later this year. A real treat. The concert is being repeated tonight in case anyone is near upstate NY. Highly recommended listening!


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## KenOC

An unusual concert tonight, a free piano recital. Dr. Eric Fox, a 58-year old doctor in family practice, played:

- Lowell Liebermann, Gargoyles Op.29
- Mozart, Sonata in B-flat Kv 333
- Dave Brubeck, Four Nocturnes
- Chopin, Two Nocturnes
- Ernest Bloch, Poems of the Sea (Waves, Chanty, and At Sea)
- (Encore: Four pieces from Schumann's Kinderszenen)

This was at the huge retirement community Leisure World, now incorporated as Laguna Woods Village. Eric's elderly mother, a friend of the family, lives there. A fine concert and a lot of music new to me!


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## Radames

Capped an awesome weekend of concerts yesterday with the Orchestra of Indian Hill playing Vaughn-Williams vastly underrated 8th Symphony. Thought I would never get to hear that in concert. OIH is a wonderful orchestra. Also got to hear Martinu's beautiful oboe concerto. My favorite movement is the finale - a lively folk dance.


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## Vesteralen

The last two concerts I attended were very enjoyable. In January I saw Helene Grimaud with Manfred Honneck in Brahms Piano Concerto No 1. Last weekend we heard a great program with Gianandrea Noseda conducting Casella, Prokofiev and Schumann. It was the best Schumann Symphony No 2 I've ever heard. The little details were superbly executed and they all added up to a very dramatic, exciting whole.


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## Radames

Vesteralen said:


> The last two concerts I attended were very enjoyable. In January I saw Helene Grimaud with Manfred Honneck in Brahms Piano Concerto No 1. Last weekend we heard a great program with Gianandrea Noseda conducting Casella, Prokofiev and Schumann. It was the best Schumann Symphony No 2 I've ever heard. The little details were superbly executed and they all added up to a very dramatic, exciting whole.


Nice! I have never heard any Casella in concert. I really like his music. I have seen Noseda conduct the Philadelphia Orchestra at SPAC. His Rite of Spring last summer was wonderfully brutal. I wonder if he will come back to SPAC with some Casella.

I managed to get into Canada last night to hit the Montreal Symphony. Shostokovich 5th was the main work, but there were two interesting modern pieces. The first was Denis Gougeon's Toy that was awarded the first prize in 2010 of a three-year-long composition competition organized by Radio France, the Shanghai Media Group and the International Spring Music Festival. It is written for traditional Chinese instruments and orchestra. The other piece was Enchantements oubliés (Forgotten Delights), by Qigang Chen. It kind of reminded me of Holst's Venus with a Chinese tinge. Maybe it went on a bit too long but it was lovely.


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## Winterreisender

Going to all Beethoven concert at Birmingham Symphony Hall today. Symphonies #5 and #6 with PC #4 played by John Lill. Three of my favourite pieces, so it should be good


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## Lyman

In Februrary 2014, my wife and I saw the Houston Symphony with guests Hannu Lintu conducting and Emanuel Ax playing piano. 
We've seen Luntu before and like him a lot. He is an exciting guy to watch, and seems to work well with the orchestra. He's a good speaker at prelude talks.
The orchestra started with Ravel's Valses nobles et sentimentales. This is a new piece to me, and I'd like to get a recording of it.
Ax did a great job playing Bach's concerto No 1 in D minor, BWV 1052. This is a favorite piece of mine and I had a ball watching them play it! Then Ax and orchestra played the Burleske in D minor by R. Strauss. This was a new piece to me and while they played beautifully, I was not as moved as I was during the Bach piece. The audience gave them long ovations. Ax did not play any encores.
The orchestra finished with the Suite from _Der Rosenkavalier_ by R. Strauss. The audience loved it - long ovations for the orchestra and Lintu!


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## KenOC

Went to a nice Sunday afternoon concert at the Soka today. The Jupiter String Quartet plus (in the final work) Jon Nakamatsu, piano.

1 - Beethoven Quartet in G Op. 18 #2. A hit as always. The Jupiter nailed it, beginning to end.

2 - Hindemith Quartet No. 4 Op. 22. A quite accessible piece in five movements. Substantial but it didn't always hold my attention. Not the Jupiter's fault!

3 - Brahms Quintet in F minor Op. 34. This was the big work, the only thing programmed after the intermission. Gnarly and exciting and (a change for me) it didn't seem a minute too long.

Afterward, a nice Japanese dinner with friends. A good day.


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## Jos

Murray Perahia is coming to my town.
Problem is; they won't tell what he is going to play, and it will probably be sold out when they do.
Keep you posted.

Jos


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## Vaneyes

Jos said:


> Murray Perahia is coming to my town.
> Problem is; they won't tell what he is going to play, and it will probably be sold out when they do.
> Keep you posted.
> 
> Jos


Have you tried Google-searching "Murray Perahia, the venue, the date" ? I'd be surprised if nothing came up.

His website has concert dates and cities listed. Clicking on the NYC venue yielded the recital info. It's not that easy for the others, but I was able to Google search for more info, such as WAM's PC 20 with ASMF (Perahia condcuting) at London's Royal Festival Hall. :tiphat:

http://www.murrayperahia.com/events


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## senza sordino

I just returned from a live and in the flesh performance of Don Giovanni, Vancouver Opera. A good production, excellent singing, playing and staging. 

But I think I prefer opera written 100 years later.


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## Jos

Thanks for the tips, Vaneyes! 
No luck as of yet getting the info, but i'll be searching the web more often. I got redirected to the site of the venue and there was still no news on the program. 

Cheers,
Jos


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## ShropshireMoose

Final notice! This is on tomorrow- still some tickets left, the postcode for Picklescott Village Hall is SY6 6NR. Be nice if anyone in the area could make it.


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## ShropshireMoose

Violin recital with Gabriela Demeterova was a great success, hall sold out, and the audience enjoyed some wonderful violin playing, I've never heard Sarasate's Zigeunerwiesen played with more feeling in the first sections, or more fire and dash in the finale, and the Dvorak Romance in F Minor and Mazurek were pretty dashed good too- well, it all went down well, the above picture taken after the final encore, Brahms-Joachim Hungarian Dance No.5. A splendid evening, if I may say so!


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## Radames

Israel Philharmonic in Boston last night playing Bruckner's massive 8th Symphony.


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## ptr

Heard Christian Zacharias play Mozart (K310 & K533) and Schubert D960 + D780 No 1 as encore at the Gothenburg Concert Hall Sunday evening..

He played quite vividly and precise, and in a very Germanic way without to much emotion, making it very easy to follow every line in both Mozart and Schubert. I've heard hem many times and believe that Schubert is his real forte and that he might be slightly to "detached" for Mozart to really shine, I usually find him better in Mozart when he has an orchestra attached!

/ptr


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## Roi N

I know these two concerts aren't new, but there are only a few really good ones here in Israel.

The first was more than a year back (wow, time flies):

Gustavo Dudamel conducting with Emanuele Silvestri on the Cello, with the IPO

Samuel Barber - Adagio for Strings
Franz Joseph Haydn - Cello Concerto No. 1 in C Major
Richard Strauss - Don Juan
Richard Strauss - Till Euelenspiegle

The second one (a month ago or so):

Andras Schiff conducting and preforming (Piano) and Miklos Perenyi (Cello), with the IPO

Franz Joseph Haydn - Piano Concerto No. 11 in D Major
Johannes Brahms - Symphony No. 4 in E minor
Antonin Dvorak - Cello Concerto in B minor


Those two were truely amazing concerts.


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## Haydn man

Last night at the Royal Festival Hall
Neville Marriner's 90th birthday concert with the ASMF
Saint Saens Introduction and Rondo Capriccio
Mozart Piano Concerto No 20 with Perahia 
Elgar Enigma Variations
A wonderful night the highlight for me being the playing of Perahia


----------



## Vaneyes

I was looking forward to comments on the Barbican Bruckner concerts.

Andrew Clements is _____ __.

This is a review?

http://www.theguardian.com/music/2014/apr/04/royal-concertgebouw-orchestra-jansons-review


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## SixFootScowl

Rocco and I just got back from a wonderful performance of Brahms's German Requiem at the acoustically excellent Hill Auditorium on the campus of the University of Michigan, Ann Arbor, Michigan. It was performed by the University Musical Society (UMS) Choral Union and the Ann Arbor Symphony Orchestra, Jerry Blackstone, conductor. The choir was about 100 strong and their voices had great clarity in Hill Auditorium. Both soloists were wonderful: Nadine Sierra, soprano, and John Relyea, bass.


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## omega

Last month : Strauss's _Concerto for Oboe_ and Bruckner's 8th
Last week : Mahler's _Resurrection_


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## edge

Radames said:


> Yo Yo's doing the Schumann. I like hearing Schumann - don't here him enough in concert.
> 
> I'm reading that the Civic Center Music Hall had a $50 million renovation in 2001. I hope the acoustics are good for that kind of money!!
> 
> I would love to visit someday and check it out.
> 
> Does it have an organ? I see they did Saint Saens 3rd. I heard that in Portland Maine last year and it was awsome there - the organ in that hall is terrific.


Sorry I missed this post earlier. Our Civic Center Music Hall does not have an organ but the acoustics are very nice. I buy the cheapest season tickets but it's still a nice place to watch a concert.

The Schumann was beautiful. I don't know that I am trained enough to tell Mr. Ma from anyone else playing the concerto but when he came back for an encore, he did the Bach Cello Suite No. 1 - Prelude and it was fantastic. Funny, once I thought that to be an ugly piece but now I've grown to love it. I thought the best thing about Mr. Ma was how he interacted with the rest of the orchestra. He followed the orchestra doing Scheherazade. He spent a lot of time hugging and clapping for the orchestra and the various soloists, especially the first violin.

Here's a funny thing. Our principle cellist's wife had a baby the day of the performance and missed it! Can you imagine being a cellist in your local orchestra and having Yo-Yo ma come to play and you miss the performance. I think I would have had to tell my wife that she didn't need me to have that baby! Hope she doesn't read this! Mr. Ma dedicated the performance of the Bach to the new baby. Very nice person.


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## edge

Next year's concerts include:

Simone Lamsma, Violin
Horatio Gutierrex, Piano
Phillipe Quint, Violin
Jean-Yves Thibaudet, Piano
Julie Albers, Cello
Louis Lortie, Piano

I don't really know any of these performers. Any comments on this lineup?

Thanks


----------



## Selby

Jean-Yves Thibaudet and Louis Lortie are both gifted pianist. 

I know them for their French repertoire. In particular Thibaudet for Satie and Lortie for Ravel.

What are they playing?


----------



## edge

Mitchell said:


> Jean-Yves Thibaudet and Louis Lortie are both gifted pianist.
> 
> I know them for their French repertoire. In particular Thibaudet for Satie and Lortie for Ravel.
> 
> What are they playing?


Thibaudet is playing Saint-Saens Piano Concerto No. 5 and Lortie is playing Beethoven Piano Concerto No. 2.

Still tickets available for sure!


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## Vaneyes

More informative reviews of the recent *Barbican Bruckner* series. :tiphat:

http://www.classicalsource.com/db_control/db_concert_review.php?id=11905

http://www.classicalsource.com/db_control/db_concert_review.php?id=11903

http://www.classicalsource.com/db_control/db_concert_review.php?id=11900


----------



## Roi N

Florestan said:


> Rocco and I just got back from a wonderful performance of Brahms's German Requiem at the acoustically excellent Hill Auditorium on the campus of the University of Michigan, Ann Arbor, Michigan.


I used to live there. Listened to some great concerts at the time!


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## ComposerOfAvantGarde

Recently saw two concerts by the Melbourne Symphony Orchestra conducted by Olli Mustonen. 

Siblius: Tapiola
Rautavaara: Violin Concerto (Kristian Winther soloist)
Interval
Andrew Aronowicz: Strange Alchemy (world premiere)
Mustonen: Symphony no. 1 "Tuuri" (Australian premiere, Juha Kotilainen baritone)

Shchedrin: Frescoes of Dionysius (Australian premiere)
Mustonen: Sonata for Violin and Orchestra (world premiere, Kristian Winther soloist)
Interval
Lisa Cheney: The Pool and the Star (world premiere)
Shchedrin: Sotto Voce Concerto for Cello and Orchestra (Australian premiere, Marko Ylönen soloist)

Very very Finnish (and a bit of Russian)


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## senza sordino

I just returned from a chamber music concert.
*Brahms Clarinet Trio, Debussy Premiere Rhapsody for clarinet and piano, Messiaen Quartet for the End of Time*

The violin player is the Vancouver Symphony Orchestra concertmaster. The cello player is the principal cello of the VSO. The clarinet player also performs in the VSO, the piano player teaches here.

I really enjoyed this concert. The clarinetist had plenty to do tonight, and played beautifully. They talked about each piece before performing it. After the concert there was a reception with refreshments and food. The performers mingle. I got to chat with the violin player. Little ole me got to talk about classical music with the concertmaster of the VSO! I really enjoyed this evening.

The Quartet for the End of Time was definitely the highlight of the evening. However, I'm humming the Clarinet Rhapsody in my head right now.


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## Katie

Yester day I traveled to Louisville (aka, "the big city", about 4 hours west of my mountain home) to watch the LSO perform LVBs 1st and 9th Sinfonias...I've always felt the latter to be the closest thing to classical pop music, as each movement presents with an extraordinarily euphonious theme - or "hook" - of which many people are familiar through common cultural references (movies, tv, or even the old Warner Bros. cartoons) even if they can't formally identify the source.....

....however, until seeing the work played live, it had escaped me the degree to which the movements, following these introductory passages, are dedicated to deconstructing the components of those famous riffs, exploring their potential improvisatory boundaries, and then reconstructing them - in whole or part - at different speeds, with different tones, and by varying instrumental sections. Incidentally, the choral and operatic performers were just mesmerizing...its just too bad decorum dictates that we all sit still - I'd have loved to have hit the aisles for some free form twirling






....a monstrously good time, though the quick return trip has left me exhausted, so I'm off to  /kate


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## Radames

Boston Symphony last night. Their season is almost over. Mozart 38 and Mahler 5 last night. $9 rush ticket in the 3rd row. Great deal. Dutoit subed for Maazel wh had some kind of accident that kept him out.


----------



## Vaneyes

Radames said:


> Boston Symphony last night. Their season is almost over. Mozart 38 and Mahler 5 last night. $9 rush ticket in the 3rd row. Great deal. Dutoit subed for Maazel wh had some kind of accident that kept him out.


Mahler's a rarity for Dutoit. Many years ago on radio, I heard a OSM/Dutoit M5 concert performance. Didn't sound bad. That collaboration never commercially-released any Mahler, or Bruckner.


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## Selby

Anxiously awaiting my next couple of shows:

Das Lied von der Erde

http://tickets.orsymphony.org/single/eventDetail.aspx?p=2260

followed by Joshua Bell playing Sibelius' violin concerto the next week.

Should be great!


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## senza sordino

I just returned from a terrific concert of the Vancouver Symphony String Players. 

Geminiani Concerto Grosso in Dm La Follia
Bach Concerto for Two Violin 
Golijov Last Round
Dvorak Serenade for Strngs

No conductor, it was all led by the concertmaster. They stood up for the duration (except the celli of course) A paired down sound, six firsts and six seconds, four viola and four celli and two bass. Standing up was a nice touch, their motion became part of the music making. The performance was in the smaller and newer concerto hall, The Chan Centre, with brilliant acoustics. 

The Golijov was the odd piece, written in the 1990's, by an Argentine. It was a nonet, and an homage to Piazzola. I liked it, quite exciting and exotic, but an odd fit against the other pieces.

The Geminiani did also require a harpsichord, played by the VSO pianist. 

The Bach is something special, lovely middle section. 

The Dvorak was terrific because my version I've grown accustomed to is HvK and Berlin, a huge sound, whereas tonight's performance was smaller, cleaner and brighter.


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## ShropshireMoose

I'm off to a matinee concert at Symphony Hall, Birmingham on the 1st May. The C.B.S.O. are to be conducted by Rafael Payare, and the programme is:

Brahms: Tragic Overture
Schumann: Piano Concerto (soloist: Jonathan Biss)
Rimsky-Korsakov: Scheherezade

The R-K is a particular favourite of mum's, so I'm treating her to what will hopefully be a very enjoyable afternoon.


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## JCarmel

Nice programme. I hope you enjoy it, Mum of Moose!


----------



## Vaneyes

JCarmel said:


> Nice programme. I hope you enjoy it, Mum of Moose!


Hopefully, for others, they have last row seats.


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## Alypius

Last night, I saw an excellent performance by the trio of Marc-Andre Hamelin (piano), Anthony Marwood (violin), and Alexander Fiterstein (clarinet). Hamelin is, of course, one of the finest pianists on the planet, and Marwood is best known as the violinist in the superb (and, I gather, disbanded) Florestan Trio. Fiterstein is a young Israel-based clarinetist who was a last-minute stand -in for Martin Frost who apparently suffered a shoulder injury. Fiterstein's performance was excellent (especially in the Poulenc). It was an intriguing program:

1. Schubert: Rondo in B minor for Violin and Piano, D. 895
2. Debussy: First Rhapsody for Clarinet and Piano
3. Stravinsky: Suite from L'histoire du soldat for Violin, Clarinet and Piano

4. Poulenc: Sonata for Clarinet and Piano
5. Debussy: Sonata for Violin and Piano in G minor, L. 140
6. Bartok: Contrasts for Violin, Clarinet and Piano, Sz.111/BB. 116

Both Debussy pieces are favorites of mine and were dazzlingly performed. Stravinsky's "Suite" was apparently something he developed as a gift to the benefactor who commissioned _L'histoire_ and who apparently was an amateur clarinetist. The Poulenc was new to me, as was the Bartok. _Contrasts_ was apparently commissioned by jazz clarinetist Benny Goodman and premiered by Goodman, Bartok and virtuoso Joseph Szegeti. So I'm revisiting those pieces today:

*Debussy: Sonata for Violin and Piano
Debussy: Premiere Rhapsody for Clarinet & Piano*

















*Stravinsky: L'histoire du soldat *
*Bartok: Contrasts (for clarinet, violin & piano*


----------



## ShropshireMoose

ShropshireMoose said:


> I'm off to a matinee concert at Symphony Hall, Birmingham on the 1st May. The C.B.S.O. are to be conducted by Rafael Payare, and the programme is:
> 
> Brahms: Tragic Overture
> Schumann: Piano Concerto (soloist: Jonathan Biss)
> Rimsky-Korsakov: Scheherezade
> 
> The R-K is a particular favourite of mum's, so I'm treating her to what will hopefully be a very enjoyable afternoon.


This was an interesting, and by and large enjoyable concert. Rafael Payare is a very good conductor. Brahms' "Tragic Overture" was very nicely done. The Schumann concerto I did not particularly enjoy, Jonathan Biss played all the notes, but I'm afraid it didn't go a great deal further than that, in fact the general effect was rather square, or so, at any rate, it seemed to me. However........after the interval it was a different matter, RP and the CBSO gave an absolutely stunning rendition of "Scheherezade", one of the most enjoyable I've ever heard, I really loved it. Full marks to them all for that. It's strange, but the last couple of concerts I've gone to it's been the concerto soloists that have let them down, the orchestral side has been exemplary.
I meant to write up the concert I heard on 20th February, The CBSO were conducted by Edward Gardner, it started with Mozart's "Magic Flute" Overture, all very nice, then Steven Osborne played Mozart's Piano Concerto No.24 in C Minor, K.491, which was dull, Dull, DULL!!!! Considering this is one of Mozart's most dramatic works, I could hardly believe my ears, it was all very small scale, and uninteresting, pretty-pretty Mozart that I rather hoped we'd heard the last of (except where appropriate- and it ain't in this concerto!). Then after the interval, one of the finest performances of Elgar's 1st Symphony, I've never heard better live- nor indeed, I think on record, as good yes, but not better. So there you have it, soloists, kindly pull your socks up, you're letting the orchestra down!


----------



## nightscape

Saturday, May 3rd

Philadelphia Orchestra
Yannick Nézet-Séguin - Conductor
Lisa Batiashvili - Violin

*Barber - Adagio for Strings
Bartók - Violin Concerto No. 1
Bruckner - Symphony No. 9*


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## Oliver

Friday evening - Mahler's symphony 1 among other things by the BBC Philharmonic at the Bridgewater Hall in Manchester.

You can hear it here: http://www.bbc.co.uk/programmes/b041xxb2#

I'd like to know what you think of their performance of Mahler's first, I thought it was almost perfect.


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## realdealblues

Saturday, May 3rd, I went to the last performance of the season for the Battle Creek Symphony.

It was apart of the Gilmore Keyboard Festival.

The evening started out with a work I had never heard before, by a composer I've never heard of. Russell Peck was the name and they only played the first movement Allegro from a work called Signs Of Life, but it was very enjoyable and I think I'm going to have to research some more into Peck.

Next was the Keyboard edition of the evening. The soloist was Andrew Hsu and they played Schumann's Piano Concerto. He came back out afterwards and played a sort of encore. I heard him say "sonata" but I have absolutely no idea what it was. It lasted probably 5-6 minutes and it was obviously a showpiece to show off he speed and technique, both which were excellent. The orchestra and soloist did a great job on the Schumann Concerto.

The highlight of the night was Brahm's Symphony #1. Tempos were all excellent and other than the Brass having a couple rough spots, it was well done and very enjoyable and I was very glad I got to hear it. Such a tremendous symphony...


----------



## nightscape

Saturday, May 10th

Philadelphia Orchestra
Yannick Nézet-Séguin - Conductor

*Strauss - Salome*

Camilla Nylund - Soprano
Birgit Remmert - Mezzo-soprano
John Mac Master - Tenor
Alan Held - Bass-baritone
Andrew Staples - Tenor

Kevin Newbury - Director
Vita Tzykum - Production Design


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## ShropshireMoose

Tomorrow evening I'm venturing to Symphony Hall, Birmingham once again, to watch two Buster Keaton films, "The Play House" and "The General", which will be accompanied by the CBSO conducted by Carl Davis, who has also composed the scores for them, looking forward to this very much, these silent films with live orchestral accompaniment are an annual treat which I always enjoy.


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## Selby

Saturday is Das Lied von der Erde for me:

http://tickets.orsymphony.org/single/EventDetail.aspx?p=2260

Couldn't be more excited!


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## Gangwolf

Thursday, May 1st

Odense Symphony Orchestra
Conductor: Daniel Raiskin

Toshio Hosokawa: Lotus under the Moonlight*
W.A. Mozart: Piano Concerto no 23, A Major, KV 488*
Lera Auerbach: Eterniday
Richard Strauss: Suite from der Rosenkavalier

*Artist: Marianna Shirinyan


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## senza sordino

Last night I saw *Verdi's Don Carlo*, performed by the Vancouver Opera. Normally I really like opera but this didn't do it for me. I found myself looking at my watch a few times, long but not so long at 3 1/2 hours including an intermission. I've seen Verdi before, Aida, La Traviata, Il Trovatore, Rigaletto, I saw Falstaff last December Live at the Met in a movie theatre, which was great. But last night I was not so impressed.

The pre show talk called this opera a work of genius and maybe it is. I don't know this opera. Maybe the performance wasn't very good. It was a big performance, the sets were great, the costumes looked terrific, the singing seemed strong. But I was daydreaming a lot through the performance. Oh well, still glad I went. Maybe in a few months I'll look for this opera on DVD and give it another chance.


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## Radames

senza sordino said:


> Last night I saw *Verdi's Don Carlo*, performed by the Vancouver Opera. Normally I really like opera but this didn't do it for me. I found myself looking at my watch a few times, long but not so long at 3 1/2 hours including an intermission. I've seen Verdi before, Aida, La Traviata, Il Trovatore, Rigaletto, I saw Falstaff last December Live at the Met in a movie theatre, which was great. But last night I was not so impressed.
> 
> The pre show talk called this opera a work of genius and maybe it is. I don't know this opera. Maybe the performance wasn't very good. It was a big performance, the sets were great, the costumes looked terrific, the singing seemed strong. But I was daydreaming a lot through the performance. Oh well, still glad I went. Maybe in a few months I'll look for this opera on DVD and give it another chance.


It's a long opera. There have been cuts made so there are several different versions. And the stage direction of the ending is ambiguous so it can be done different ways. Some productions have Carlo killed and some have him live. And some have Charles V as a ghost. Some have him as a monk who may or may not be Charles V or a ghost. It's very interesting. I love endings like that.

Didn't you at least love the auto da fé scene?


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## senza sordino

Radames said:


> It's a long opera. There have been cuts made so there are several different versions. And the stage direction of the ending is ambiguous so it can be done different ways. Some productions have Carlo killed and some have him live. And some have Charles V as a ghost. Some have him as a monk who may or may not be Charles V or a ghost. It's very interesting. I love endings like that.
> 
> Didn't you at least love the auto da fé scene?


We saw the Milan version, according to the pre show talk. What is the auto da fé scene? I'm not sure whether Charles V was a monk or a ghost. I saw the King stab his Queen and Carlo at the very end.

I talked to someone today at work. His father went, and he didn't enjoy it much either. Both of us are regulars at the opera.

So I was wondering maybe it is an excellent opera, but it wasn't a good production. Just a thought, and it's hard to know without seeing other productions. This I plan to do in the future, not not anytime soon.


----------



## Radames

senza sordino said:


> We saw the Milan version, according to the pre show talk. What is the auto da fé scene? I'm not sure whether Charles V was a monk or a ghost. I saw the King stab his Queen and Carlo at the very end.
> 
> I talked to someone today at work. His father went, and he didn't enjoy it much either. Both of us are regulars at the opera.
> 
> So I was wondering maybe it is an excellent opera, but it wasn't a good production. Just a thought, and it's hard to know without seeing other productions. This I plan to do in the future, not not anytime soon.


 "Auto-da-fé"= the public parade and burning of condemned heretics. Act 3 scene 2.


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## Oliver

This evening... Mahler's 9th, Hallé Orchestra.


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## Oliver

Mahler's 9th was brilliant, but are some people just incapable of stifling coughing? And why does it have to wait till the very end of the final movement??


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## senza sordino

^^^^^^^^^^
Interesting coincidence. Last night I saw and heard the Vancouver Symphony perform Mahler's Ninth, under the baton of Bramwell Tovey. It was a terrific performance, well done. It was the only piece on the programme, no intermission, about 80 minutes of music. 

The final few minutes were remarkable as the orchestra got quieter and quieter, the music died away to nothing, the audience was absolutely still and silent. Finally the last note was played, the conductor still with his baton up, bows still up onto the violins. Maestro Tovey held the silence for as long as possible, very cool. Eventually and slowly he put his baton down, and cheers erupted from the audience. The quickest standing ovation I've seen at the symphony in a long time. Fantastic evening.


----------



## Radames

Oliver said:


> Mahler's 9th was brilliant, but are some people just incapable of stifling coughing? And why does it have to wait till the very end of the final movement??


That's not as bad as a bozo with a cellphone. A la NY Phil a couple of years back.

In Montreal in the winter they give out free cough drops. It seems to help a bit. I remember a few years ago at a chamber music concert when David Jailbert's new string quartet was getting its premier. It ended very quietly and guess what? A couple of minutes before it ended a woman started hacking away right through to the finish. And here's the kicker - she was sitting right next to Jailbert. I have seen people who are having coughing fits leave the hall. It's one of the reasons I prefer an aisle seat.


----------



## senza sordino

Last night we went to see Last Night of the Proms. It was a reproduction of the BBC Last Night. This concert was here in Vancouver, and conducted by Bramwell Tovey with the VSO and Vancouver Bach Choir. They played all the usual suspects: Land of Hope and Glory, where we stood and sang, Jerusalem, Zadok the Priest, Rule Brittania, Fantasia on British Sea Songs, Crown Imperial March, Dam Busters March etc. Lots of flag waving, Union Jack, St George Cross, The Maple Leaf. It was well attended by all of us expats here on the west coast. The concert started with Oh Canada and God Save the Queen.

Lots of fun. Tovey spoke and joked between every piece of music. He's a comedian.


----------



## Marschallin Blair

senza sordino said:


> Last night we went to see Last Night of the Proms. It was a reproduction of the BBC Last Night. This concert was here in Vancouver, and conducted by Bramwell Tovey with the VSO and Vancouver Bach Choir. They played all the usual suspects: Land of Hope and Glory, where we stood and sang, Jerusalem, Zadok the Priest, Rule Brittania, Fantasia on British Sea Songs, Crown Imperial March, Dam Busters March etc. Lots of flag waving, Union Jack, St George Cross, The Maple Leaf. It was well attended by all of us expats here on the west coast. The concert started with Oh Canada and God Save the Queen.
> 
> Lots of fun. Tovey spoke and joked between every piece of music. He's a comedian.


--
I love the ceremony if not the chauvinism.


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## senza sordino

I just returned from the last VSO concert of the season. Bramwell Tovey conducted.

Benjamin Britten Passacaglia from Peter Grimes
James Ehnes played the Elgar violin concerto
Berlioz Roman Carnival Overture
Respighi Pines of Rome. 

Fantastic concerto. Ehnes played like a dream, against / with a very large orchestra. For such a long concerto, he held the audience captive. He played an encore, Bach solo violin andante from the second sonata. 

The Respighi was thrilling. Extra brass were playing upstairs in the balcony, as many strings as possible were on stage. They included the all important piano and birds. 

Great night.


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## Hmmbug

> I have seen people who are having coughing fits leave the hall. It's one of the reasons I prefer an aisle seat.


I was at a concert where the orchestra was playing Strauss' Ein Heldenleben with my mother, when she started to have a violent coughing fit. Until she excused herself from the hall, I inched a way from her seat and put on my "I don't know you" face.


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## Maritta

I was in Musikverein in Vienna 18.6.2014 listening to Tannhäuser and Sinfonie fantastique. That was a marvellous experience!


----------



## Vaneyes

Maritta said:


> I was in Musikverein in Vienna 18.6.2014 listening to Tannhäuser and Sinfonie fantastique. That was a marvellous experience!


*18.06.2014 - 19:30*
Orchestra of the Opera de Paris
Philippe Jordan, Conductor
Thomas Hampson, Baritone

*18.06.2014 - 19:30*

*Richard Wagner*
Ouvertüre zu„Tannhäuser"
*Richard Strauss*
Hymnus, op. 33/3
Notturno, op. 44/1
Nächtlicher Gang
Pilgers Morgenlied, op. 33/4

-------- Break ----------

*Hector Berlioz*
Symphonie fantastique, op. 14, „Episode aus dem Leben eines Künstlers"


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## Taggart

Just back from York Early Music Festival. We went to two concerts. The first was Jordi Savall - Kalenda Maya: Folias and Dances from Palace and Desert at York University on July 10th. This was broadcast live on BBC Radio 3 and their programme notes state:



> East meets West in this colourful evocation of medieval music from all around the Mediterranean. In the twelfth and thirteenth centuries Spain was a melting pot, where Christian, Jewish and Islamic cultures co-existed, where Provençal troubadours and Arabic musicians could meet and exchange ideas. Manuscripts associated with the Castilian court of Alfonso X ''the Wise'' show illustrations of musicians playing instruments that look remarkably similar to those still played in North Africa, the Middle East and around the Adriatic today, and this has inspired Jordi Savall to gather together a group of musicians from east and west to recreate the lost sounds of medieval Spain, Provence and Italy in the context of traditional music from Armenia, Persia and Turkey


Absolutely gorgeous music on a range of instruments including the santur- a Persian hammered dulcimer; the kanun - a species of zither - wiki suggests that they use tortoiseshell picks but the player was using brass (?) finger ends as well as fingers; the oud - a Middle Eastern lute; various percussion instruments;an incredibly expressive flute player and of course Jordi Savall on rebab and lira -precursors of the rebec from different oriental traditions. The music covered Sephardic, Arabic and European (mainly Spanish) traditions from the 12th and 13th centuries.

The audience enjoyed it and gave them a rousing reception at the end. We actually got two encores which must have played havoc with the BBC's scheduling. If you can get BBC i-player then it's well worth a listen. Weird, unusual atmospheric and thoroughly enjoyable - the flute sounded at times like a child crying, the drums like dogs woofing and Jordi Savall providing a depth of texture with his string playing. The rebab is played with something that looks like an archery bow - a piece of stick with a string and makes a wonderful sound in the hands of a master.


----------



## Taggart

The second concert the next day was the Sixteen in York Minster - an incredible venue for a wonderful group. Again this was broadcast live on the BBC. Whereas the Savall concert at the University had its own sound system, this didn't so the concert was preceded by some muffled commentary for the nation which we couldn't actually hear in the nave.

The concert went out under the title Voice of the Turtle Dove - a quote from the last piece.

John Sheppard: Gaude, gaude, gaude Maria
William Mundy: Adolescentulus sum ego
Richard Davy: O Domine caeli terraeque creator

Interval

John Sheppard: Libera nos I & II
John Sheppard: In manus tuas I
Richard Davy: Ah, mine heart, remember thee well
John Sheppard: In manus tuas III
William Mundy: Vox patris caelestis

The BBC notes say



> The Sixteen revisit the golden age of Renaissance polyphony with a programme of gems by three of the finest English Tudor composers, William Mundy, John Sheppard and Richard Davy.


What they fail to convey is the overall effect of seeing a fine choir, so smart and well turned out, performing spectacularly well against the backdrop of the King's Screen in the minster -overwhelming. Gorgeous music in a splendid setting.


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## ShropshireMoose

I went on Saturday last to the final concert of the Lichfield Festival, held in the cathedral, it was given by the BBC Philharmonic Orchestra conducted by Juanjo Mena, with Tasmin Little doing the honours as soloist, the programme was as follows:

Mendelssohn: Hebrides Overture
Moeran: Violin Concerto
Vaughan Williams: The Lark Ascending
Elgar: Enigma Variations

It was a most satisfying programme, but it was such a pleasure to finally hear the Moeran concerto played live, I've loved this piece for years, and Tasmin Little has really got the measure of it, it was absolutely superb, she's playing it with the same forces at the Proms on the 25th July, well worth tuning in for, if you can. She also gave what is possibly the finest performance I've ever heard of the ubiquitous Lark, ethereal it was, all in all a thoroughly memorable evening.


----------



## TurnaboutVox

This was our latest visit to the annual Ribble Valley International Piano Festival
Venue - The Croston Theatre, Westholme School, Blackburn. Lancashire
Saturday 19th July

Tasmin Little (violin) and Martin Roscoe (piano)

Programme:

Beethoven - Violin Sonata in A Op 12 No 2
Delius - Légende
Elgar - Chanson de nuit; Chanson de matin
Vaughan Williams - The Lark Ascending
Beethoven - Violin Sonata in A Op 47 (Kreutzer)

This was another very enjoyable performance, although I am reminded that the 'Kreuzer' sonata is not an especial favourite of mine. It was very well played nonetheless. The early Beethoven sonata Op 12/2 and the exquisite Delius 'legende' came off particularly well, and (as Shropshire Moose opines above) Tasmin Little was quite superb in the Vaughan-Williams 'The Lark Ascending', which received a rapturous reception. Martin Roscoe was, as usual, excellent (he is the RVIPW's Artistic Director and performs regularly as well).


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## Taggart

*Norwich Baroque - Mr Handel and Friends 26 July 2014*

Norwich Baroque is usually fab, but in all honesty, the concert tonight imo was fab*ish*. The line up lacked some of the usual strong players who were possibly on holiday.

The first half included quite a nice concerto by Hebden (Op 2 No. 2). Hebden is a York man who wrote for a small orchestra that performed in the Assembly Rooms. Probably be quite suited as nowadays it's an Italian tea room. Then were some Avison (Concerto no 5) based on Scarlatti but sounding just a little underwhelming. Then there was a modern composition 'Disconcerto' by Rupert Jeffcoat, the winner of Norwich Baroque's Losh-Atkinson Historic Sounds Composition Competition. This was clever but not our cup of tea. I reviewed it here. I think the problem with "new modern Baroque", especially in competitions, is that the composer feels compelled to be "clever" but the audience want old, established Baroque.

In the second half, Stanley's Concerto Op 2 No 3 was surprisingly good - tuneful, spirited, and with lots of blithe sprigs from Mr O'Toole, the director; this was certainly our favourite piece in the concert. Next was Concerto in 7 parts no 4, by Richard Mudge - the first part was smooth and gracious, the middle part fresh and melodious, and the final part full of flurries which were *almost *convincing. And lastly the Concerto Grosso Op 6 No 1 by Handel, which was 'good in parts': Mr O'Toole was as usual excellent, though - he had a lot of solo phrases which were always lyrical and sprightly.The lack of strong players meant that there was bluster rather than a clear will behind it. The director couldn't quite get the sound to gel.

Basically good but not outstanding.


----------



## TurnaboutVox

A performance we attended in Prague that proved a bit disappointing. We wished we'd gone with Don Giovanni next door, but Mrs. V wasn't sure she'd like that (and she does like 'Carmen'). So Carmen it was.

Divadlo Hybernia, Prague

Bizet - Carmen
Opera ballet performance in French language with English and Czech subtitles.

Members of the Prague Royal Orchestra, National Thetare, Prague State Opera, Prague Symphony Orchestra, Czech Philharmonic Orchestra and the Czech Radio Orchestra

Alena Pešková, Choreographer
Martin Peschík, Conductor

Well, we were warned that most of Prague's classical music 'industry' was shut in August. The four singers (not named anywhere I could see, interestingly, and I can't find them on the web post-performance) were excellent, as was the chamber orchestra (piano, two woodwinds and 7 string players). But...



> Four SUPERB opera singers, 6 far less superb ballet dancers (dancer playing Carmen had none of the passion required whereas the singer singing Carmen was perfect casting) and a 9-piece orchestra on stage. Plus a totally redundant huge screen showing sepia film of I'm not sure what, it was so unclear due to inappropriate lighting. Add to that the subtitles in Czech and English above the stage, you've got "too much of a muchness" going on! No scenery, stage was very bare from that point of view. [...]


This was an anonymous review on 'Trip Advisor', but I can't disagree with anything in it. Totally underwhelming despite fine singing. The chamber orchestra was also very good indeed, but they were rather underpowered in a large theatre. Goodness only knows why the Escamillo 'Toreador' character (singing version - there were always two of each character on stage) was wearing a golfing shirt - every one else was in costume. We suspect that everyone was on their summer break, and making a little money from the tourists!
'


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## Radames

I went to Tanglewood Saturday - my only trip there this year. I normally go 6 -8 times. But my shoulder is shot. 

Triple concert. Mahler 5th in the afternoon by the youth orchestra. Strauss chamber music in Ozawa Hall in the early evening. Tchaikovsky 4th in the evening. Stéphane Denève conducting. I like him, but he still didn't get the Tchaikovsky 4th finale right. No one does.


----------



## Chronochromie

I went yesterday to the Teatro Colón- the first time I go to a concert. Britten's Violin Concerto with Ray Chen as soloist and Holst's The Planets, both with the OFBA's resident conductor Enrique Arturo Diemecke. The VC was good, but I was expecting more perhaps. I know nothing about violin tecnique, but as far as I know Chen played perfectly, the problem was with the piece it seems (or with me). He then played Paganini's Caprice 21 as an encore. The Planets, though, was great. Overall I had a great time there. Looking forward to Mahler's Das Lied von der Erde at the end of the year if I can!


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## yelu

i went to one of the Mostly Mozart Festival concert this Tuesday. Boyce Symphony No.1 and Beethoven Eroica is by Mostly Mozart Orchestra. Joshua Bell and Laurence Power played Sinfonia concertante for violin and viola. I would say i'm not a fan of symphony. But Boyce's piece is totally out of my expectation; brief & brisk. Joshua Bell, as always, interpret Mozart in such a warm & expressive way. Beethoven is not my fav, so almost fell asleep in the second session. Overall it's a very enjoyable concert


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## Taggart

We went to see Norwich Baroque last night for "An Evening in Italy".

The programme was

Locatelli- Introduttione Teatrati Op.4 no. I
Scarlatti - Concerto in 7 parts no.3
Vivaldi- Concerto for viola d'amore RV393
Vivaldi- Concerto for strings Rv151 "Alla rustica"

Geminiani - Concerto in 7 parts Op.3 no.2
Vivaldi - "Autumn" from The Four Seasons
Corelli- Concerto Grosso Op.6 no.6

Norwich Baroque had Catherine Martin as their guest artist. She soloed on violin and viola d'amore which is a bit like a souped up hardanger fiddle - six main strings and six sympathetic ones. It is no surprise to find that Miss Martin also plays the hardanger as well. The other oddity about the viola d'amore is that like the treble viol it doesn't have a fixed tuning but is (usually) tuned for the key of the piece being played.

The first two pieces were delightful for their filigree tunefulness. The highlight of the evening was the Vivaldi Concerto for viola d'amore where Miss Martin demonstrated in fine fashion the incredible resonant powers of the instrument. Outstanding playing. The sound is beautiful and heart-wooing.

The last item before the interval, Vivaldi's Concerto for Strings RV151, was brimming with gusto - it began with a 'rustic' tarantella which swept us along. Mr O'Toole put his whole heart into it, and chose it as an encore after the audience's final applause wouldn't let Norwich Baroque leave the stage.

After the interval we had some Geminiani. Norwich Baroque did justice to his melodic intimacy and crafted patterning. After this Miss Martin returned, on violin, to power the group through Vivaldi's Autumn. Norwich Baroque played so passionately that the church almost took off. The final piece on the programme was piece was Corelli's Concerto Grosso Op 6 No 6. This begins slowly and plangently and then erupts into leaps and capers across the strings that are utterly engaging.

We had a wonderful evening and felt that Norwich Baroque were on fine form. Miss Martin had a commanding presence and played exquisitely.

There will be a second performance at Binham priory tonight. Highly recommended if you are in the area.


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## scratchgolf

Sunday night I'm attending the Fundraiser Gala for the Orchestra of the Southern Finger Lakes. The program is...

1. Mendelssohn Piano Concerto 1
2. Beethoven Symphony 3
3. Adams Chairman Dances/Foxtrot for Orchestra

I also have tickets to attend a concert with Albany Symphony Orchestra on Nov 22 with my older son and two nephews. The program...

1. Golijov's Last Round
2. Mendelssohn Violin Concerto
3. Beethoven Symphony 6

I can't wait for either.


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## scratchgolf

Uh oh. Mahler 2 and 5 in Philly. Road trip!!


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## Radames

scratchgolf said:


> Sunday night I'm attending the Fundraiser Gala for the Orchestra of the Southern Finger Lakes. The program is...
> 
> 1. Mendelssohn Piano Concerto 1
> 2. Beethoven Symphony 3
> 3. Adams Chairman Dances/Foxtrot for Orchestra
> 
> I also have tickets to attend a concert with Albany Symphony Orchestra on Nov 22 with my older son and two nephews. The program...
> 
> 1. Golijov's Last Round
> 2. Mendelssohn Violin Concerto
> 3. Beethoven Symphony 6
> 
> I can't wait for either.


I'll be at the Albany one. I'm trying to cut back on concerts this year. I actually skipped Montreal Symphony the other night with Berezovsky playing Prokofiev Piano Concerto #2. Probably would have gone if they had the $40 rush tickets though. Next OSM concert is on the 23rd and it's a great one.

R. Strauss, Death and Transfiguration, Op. 24

Saint-Saëns, Piano Concerto No. 2 in G minor, Op. 22

R. Strauss, Symphonia domestica, Op. 53

Young pianist Benjamin Grosvenor playing. I have not heard him before. Don't get to hear the Saint-Saëns concerti often enough. It will be a real treat.


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## senza sordino

Last night I attended a chamber music concert performed by a few members of the Vancouver Symphony Orchestra, and Jane Coop on the piano. In a church on the other side of town. 

Kodály Serenade for Two violins and viola. 
Mozart Piano Quartet in Eb
Chausson Concerto for violin, piano and string Quartet

I really liked the Kodály, I'd never heard it before. Very interesting the communication between the viola and first violin, the second played harmony (relegated to second fiddle)
Mozart was charming as always.
The Chausson was terrific, well played and so dramatic. Loud for only six players on stage. However I thought the solo violin player used a few too many portamenti for my taste. Slide uuuup, slide dowwwwwwwwwn 

I went to hear the Chausson, and as good as that was, the pleasant surprise for me was the Kodály.


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## Divasin

I'm excited about attending the opening of a new theatre - The Isabel Bader Centre for Performing Arts in Kingston Ontario.

http://snohetta.com/project/57-isabel-bader-centre-for-the-performing-arts-queens-university

Designed by Craig Dykers of Snøhetta (also designer of the Norwegian National Opera and Ballet in Oslo, Norway, and the National September 11 Memorial Museum Pavillion in New York City.) the acoustics promise to be state of the art....we shall see...hear!

On the program :
Maxim Bernard and Afiara Quartet

Maurice Ravel - Le Tombeau de Couperin

Robert Schumann - String Quartet No. 1 in a minor, Op. 41, No. 1 - (1842)

Antonín Dvořák - Piano Quintet No. 2 in A major, Op. 81, B. 155 - (1888)


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## scratchgolf

Just returned from Beethoven 3. The Adams piece was not bad at all. Only the 2nd time I've heard it though. Mendelssohn PC1 was lovely. The pianist was Gleb Ivanov and he did a fabulous job. Then.......there was the Beethoven. It ranged from average to downright terrible. The horn section in particular was awful and missed more notes than any high school players should miss, let alone professionals. The horn solo in the 3rd movement had me cringing. Not a great start to the season.


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## Radames

scratchgolf said:


> Just returned from Beethoven 3. The Adams piece was not bad at all. Only the 2nd time I've heard it though. Mendelssohn PC1 was lovely. The pianist was Gleb Ivanov and he did a fabulous job. Then.......there was the Beethoven. It ranged from average to downright terrible. The horn section in particular was awful and missed more notes than any high school players should miss, let alone professionals. The horn solo in the 3rd movement had me cringing. Not a great start to the season.


That's too bad. I just checked their website and it says they are a fully professional orchestra.



> The Orchestra of the Southern Finger Lakes, a fully professional regional orchestra of the Southern Tier, provides inspiring performances of all the major orchestral repertory.


If that's true they should play better than that. Upstate NY has a couple of really good orchestras is small towns - Glens Falls and Potsdam. They always play well.


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## Ravndal

Just got home from seeing

Stravinsky - Symphony for winds
Shostakovich - Cello Concerto
Bartok - Concert for orchestra

Great stuff!


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## Vaneyes

Ravndal said:


> Just got home from seeing
> 
> Stravinsky - Symphony for winds
> Shostakovich - Cello Concerto
> Bartok - Concert for orchestra
> 
> Great stuff!


Performed by?


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## Ravndal

Kristiansand Symphony Orchestra. Don't remember the conductor. The solist was Andreas Brantelid.


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## senza sordino

I just got home from my first concert of the season. The Vancouver Symphony conducted by Bramwell Tovey. 

Walton Façade Suite #2
Butterworth The Banks of Green Willow
Elgar Cello Concerto, soloist Ariel Barnes, principle cello for the VSO
RVW Symphony #4

A super concert, Tovey does English music so well. He talked about each work before it was performed. Mr Barnes played the Elgar with lots of passion, he was clearly enjoying it. Being a member of the orchestra, he seemed to have a sense of being in it with the orchestra, rather than this soloist who just flies in for one show. He looked up to the conductor frequently, he leaned into the concertmaster, leaned over to his cello and bass colleagues when he needed to. He was saying "let's make music" rather than saying "look to me I'm the star soloist". 

The Walton was a lot of fun, played with élan. The Butterworth was lovely. The Symphony was noisy, chaotic and played well. I don't know it so I've nothing to compare it. I knew what to expect only from reading the program notes and what Maestro Tovey explained before they started. I really liked it, for all it's chaos. It didn't really sound like the RVW I knew.


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## Vaneyes

Rameau and Mondonville Grand Motets, etc., performed by Les Arts Florissants/William Christie, at Cite de la Musique, Paris, October 2, 2014.

CDLM's circular hall seats 1,000. Very good acoustics. Our seats were left orchestra, about row twenty. The hall was mostly filled, excepting some seats in the upper reaches.

Over the years, French Baroque has not played even a small role in my classical music experience. A few Couperin and Rameau recs hadn't impressed, and quickly exited.

Would this concert be different? Yes. Within minutes, I was admiring the vibrance, the precision of this well-oiled machine Les Arts Florissants. The tall elegant conductor was on top of every note, and leading his charges to places seldom heard on recordings.

At the program's conclusion and several returns, Christie softly spoke that the first of two Rameau encores would be in tribute to Christopher Hogwood.

Program (pdf en francaise):

http://content.citedelamusique.fr/pdf/note_programme/np_14017.pdf


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## Radames

senza sordino said:


> I just got home from my first concert of the season. The Vancouver Symphony conducted by Bramwell Tovey.
> 
> Walton Façade Suite #2
> Butterworth The Banks of Green Willow
> Elgar Cello Concerto, soloist Ariel Barnes, principle cello for the VSO
> RVW Symphony #4
> 
> A super concert, Tovey does English music so well. He talked about each work before it was performed. Mr Barnes played the Elgar with lots of passion, he was clearly enjoying it. Being a member of the orchestra, he seemed to have a sense of being in it with the orchestra, rather than this soloist who just flies in for one show. He looked up to the conductor frequently, he leaned into the concertmaster, leaned over to his cello and bass colleagues when he needed to. He was saying "let's make music" rather than saying "look to me I'm the star soloist".
> 
> The Walton was a lot of fun, played with élan. The Butterworth was lovely. The Symphony was noisy, chaotic and played well. I don't know it so I've nothing to compare it. I knew what to expect only from reading the program notes and what Maestro Tovey explained before they started. I really liked it, for all it's chaos. It didn't really sound like the RVW I knew.


Yeah RVW had his nasty side! I heard the Symphony # 6 in Boston last season.

But only your 1st? I hit 3 over the weekend. I think that puts me up to 10 now. And I'm cutting back! It killed me but I skipped Mahler 10 at Maison and went to the McGill orchestra to hear Brahms 2 and the Nielsen flute concerto. I thought we wouldn't get to hear the Nielsen. After the opening piece - Sorcerer's Apprentice -someone came out and said the flute player's instrument was having a problem. So we had an early intermission. Then after that the conductor came out and said they would play the Brahms and by then hopefully the flute would be fixed. It was so I got to hear it.

Then Saturday I went to Nashua - very good orchestra. Playing lush romantic favorites. Liebestodt from Tristan and Isolde, Brahms Violin Concerto and the Frank Symphony.

Sunday it was back to Montreal where the NAC Orchestra from Ottawa was visiting. The main bridge was to Montréal was closed!! I had to take another bridge and deal with the traffic problems the bridge closure caused. Barely made it on time. Got a $40 rush ticket and sat in a $200 seat. Good deal. Glad I didn't miss the opening piece - Brio by Canadian John Estacio.


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## DamoX

Today attended a marvelous (just as expected!) regular concert by *Okayama Philharmonic Orchestra* (conductor; *Hansjörg Schellenberger*) featuring 2 soloists - *Andrea Griminelli* (flute) and *Margit-Anna Süß* (harp).









In the beginning Schubert's Unfinished was played ... the first movement filled with heavy, depressive, and dramatic vibes was beyond expression, and via the second movement we could grab slow, steady, and gentle atmosphere based upon Hansjörg's conductor baton moving deeply, thickly. Mozart's Flute and Harp Concerto, created with gorgeous harp sounddrops and cool clear flute breezes, was so heartwarming and familiar enough for us to digest comprehensively. Yeah an encore Entr'acte played by two soloists just in a storm of applause was another brilliant gem today, let me say.

Brahms' Symphony No. 1 could notify us his serious suffering upon the composition (for a decade) perfectly in an auditory manner. Upon this symphony, the second movement was beautiful, wonderful (Hansjörg's "Andante expression" is splendid really!). This concert was such a dream, also with another encore Mozart's Overture to Die Zauberflöte.

Finally Andrea's Vivaldi album I've purchased.








And ... I've got signatures of Andrea and Hansjörg yay!








The playlist today:
1. Schubert - Symphony No. 8 in B minor, D. 759 "Unfinished"
2. Mozart - Concerto for Flute, Harp and Orchestra in C major, K. 299
3. Ibert - Entr'acte (encore)
4. Brahms - Symphony No. 1 in C minor, Op. 68
5. Mozart - Overture to Die Zauberflöte, K. 620 (encore)

Thank you for reading this post.

Keishiro (DamoX)


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## omega

I have just come back from the cinema where _Tosca_ was live broadcast from the Opéra de Paris.









Though the production what, I thought, a little inconsistent, I loved the tourmented and highly dramatic Tosca, torn between hatred and remorse, and the perfectly despicable and bitter Scarpia...
Great evening!


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## Vaneyes

omega, glad you enjoyed Tosca, and that's a more reasonable way to see/hear it. IIRC Paris Opera wanted 249 Euro for a La Traviata ticket.


----------



## MoonlightSonata

Beethoven, "Choral" Symphony.
Napier Civic Choir and Hawkes Bay Orchestra.
Absolutely stunning.


----------



## Jeff W

Last night's Albany Symphony Orchestra concert:

Andrew Norman: Apart

Rachmaninoff: Rhapsody on a Theme of Paganini
Joyce Yang, Piano

Tchaikovsky: Symphony No. 6 'Pathetique'

David Alan Miller, Conductor

The Albany Symphony was in fine form last night. I have to say that the first work didn't do much for either myself or the girlfriend. I don't even know how to begin to describe it either. Many in the audience seemed to enjoy it though.

During the Rachmaninoff though, the orchestra really began to shine. Neither Joyce Yang nor the orchestra overpowered one or the other. Afterwards, the GF said to me that she (Joyce Yang) "abused that piano". After the show, she was in the lobby chatting with the audience and signing autographs!









Tchaikovsky's Sixth Symphony was beautifully played. David Alan Miller, who conducted the Tchaikovsky from memory, has, in my opinion, turned the Albany Symphony into a force to be reckoned with. The audience applauded after the third movement but that didn't really bother me.

However, more imporantly....

SHE SAID YES!!


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## Mahlerian

Jeff W said:


> However, more importantly....
> 
> SHE SAID YES!!


Congratulations!


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## Vaneyes

Great performance, Jeff. Congrats.


----------



## Haydn man

Yesterday evening in Manchester
Halle Orchestra Mark Elder conducting Paul Lewis Piano
Brahms Piano Concerto 2
Dvorak 8th 
Enjoyable evening, thought the Dvorak was better played by the Halle than the Brahms. It seemed to get a bit harsh in the climaxes of both pieces but more so the Brahms.
My wife didn't like the sound of the piano


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## Radames

Jeff W said:


> Last night's Albany Symphony Orchestra concert:
> 
> Andrew Norman: Apart
> 
> Rachmaninoff: Rhapsody on a Theme of Paganini
> Joyce Yang, Piano
> 
> Tchaikovsky: Symphony No. 6 'Pathetique'
> 
> David Alan Miller, Conductor
> 
> The Albany Symphony was in fine form last night. I have to say that the first work didn't do much for either myself or the girlfriend. I don't even know how to begin to describe it either. Many in the audience seemed to enjoy it though.
> 
> During the Rachmaninoff though, the orchestra really began to shine. Neither Joyce Yang nor the orchestra overpowered one or the other. Afterwards, the GF said to me that she (Joyce Yang) "abused that piano". After the show, she was in the lobby chatting with the audience and signing autographs!
> 
> View attachment 53790
> 
> 
> Tchaikovsky's Sixth Symphony was beautifully played. David Alan Miller, who conducted the Tchaikovsky from memory, has, in my opinion, turned the Albany Symphony into a force to be reckoned with. The audience applauded after the third movement but that didn't really bother me.
> 
> However, more imporantly....
> 
> SHE SAID YES!!


I used to date an hispanic woman from Albany. She's not hispanic is she?

On subject - my concerts. Did the Albany one. Went to Holyoke Sunday. They have a little civic symphony that plays OK. If they play something unusual I go. They played Smetana's Wallenstein's Camp. Probably never will get to hear that again. Unless they make me music director in Boston someday!


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## Pyotr

Last night Philadelphia Orchestra.

Anderson - The Stations of the Sun 
Mozart - Violin Concerto No. 4 - with Alina Ibragimova on Violin
Strauss - Also Sprach Zarathustra

The beginning of Also Sprach Zarathustra is familiar to most of us. It's from the 2001 Space Odyssey movie.
Mozart's VC 4 is one of my favorites. I thought Alina was wonderful, although some of her embellishments annoyed me. 
The Anderson thing was over my head.


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## Radames

Boston Phil - first time Zander has conducted the Rachmaninoff 2nd Symphony. He talked almost as long as the symphony went on! With no cuts.


----------



## Aaconn

From what my professor has said about Zander (whom he is good friends with) that sounds about right.


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## Radames

The only other conductor who talks nearly as much is Boris Brott - and he's not even close.


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## Vaneyes

Radames said:


> Boston Phil - first time Zander has conducted the Rachmaninoff 2nd Symphony. He talked almost as long as the symphony went on! With no cuts.


Still lags far behind 1960's Fidel Castro and his radio broadcasted rants.


----------



## senza sordino

Last night I went to a pops concert of the Vancouver Symphony. I've been to a handful of these pops concerts over the years, usually it's some jazz or Celtic hybrid. It makes a change from classical. I didn't know what to expect before this show. 

Sultans of String are advertised as Sable island meets the Silk Road, with detours through Gypsy Jazz, east coast kitchen and the bustling markets of Cuba. Interesting, I thought when I purchased my ticket last May. Boring I thought as I sat through the concert. I didn't boo, I'm too timid for that, I chose not to clap. 

The entire program starting with the orchestra only.
Smetena The Bartered Bride Dance of the Comedians
Sarasate Zigeunerweisen The soloist was a local grade 12 student. She played very well, great tone. 
Bizet Carmen Danse Boheme

Then the Sultans of String came on stage. A Canadian band from Toronto. Five men, two guitars, one bass guitar, a five string amplified violin/viola and a drummer. The first notes were not in tune, or it's was supposed to be out of tune? Five pieces of music. The last of these was almost interesting called Luna the Whale, the violin player made whale noises with some effects pedals. 

During the intermission I needed my beer.

The second half started with Samson and Delilah Danse Bacchanale, orchestra only. Then the Sultans of String returned with another five tunes. And an encore of Heart of Gold. The band were in the foyer at intermission and after the show selling CDs and signing autographs. 

There was a guest conductor, John Morris Russell of the Cincinnati Pops Orchestra. 

Overall not a good evening, but I suppose I'm becoming a music snob. The crowd loved them. I sat in bored silence. A lot of it sounded like the background relaxation CDs you can find in shops selling pretty things for tourists. One bar = one chord, over and over. It's put me off Pops concerts.


----------



## Vaneyes

I understand your Pops consternation, ss. I go to them sparingly, like 20 years apart. Oops, 'bout time for another.

Arthur Fiedler, John McGlinn (both deceased) were the last two.:angel::angel:


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## senza sordino

I saw The Chieftains perform with the VSO 20 years ago, I liked that concert if I remember that far back. And two years ago I saw a jazz combo perform with the VSO. I liked them also. So yes, the pops concerts can be hit or miss. 

Four people to my left last night didn't return for the second half. The couple on my right politely clapped but didn't stand during their final ovation. Some in the audience jumped to their feet at the end of it. 

The final insult last night was that the weather was nasty, heavy heavy rain, one of those 2" of rain soakers. I don't drive so it was transit and walking for me. I was looking forward to this concert. Oh well, live and learn. It's all part of life's adventure.


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## Radames

I went to Vermont's two symphonies over the weekend. The professional VSO played Dvorak's 7th Symphony and Beethoven 3rd Piano concerto with Biss. The community orchestra VPO is quite good and I got a special treat - the Castelnuovo-Tedesco harp concerto - beautiful piece!


----------



## Lunasong

I just came back from a concert that was billed as the first performance ever of Rocky Horror Picture Show( in concert format) with orchestra. It was surprisingly perfect! On the opening credit they listed every person associated with the production from the headliner artists (Jeans 'n Classics) to all orchestra members and all the production and stage crew. Our conductor did all the props - newspaper, toast, cards, etc. Highly appropriate use of graphic slides on the backdrop. The guy who played Frank N. Furter was outrageous and stole the show. It was a lot of fun! (I went dressed as a Guest of the Mansion).


----------



## Xaltotun

Yesterday I attended an oratorio for the very first time in my life - Mendelssohn's _Paulus_. Overwhelming, overwhelming. At one point ("Mache dich auf! Werde Licht!") the surroundings sort of disappeared and I felt I was being raised to a higher reality with radiant light and soul-shattering harmony surrounding me. I realized with mixed awe and sadness that there are musical experiences that my stereo system is just forever incapable of reproducing.


----------



## nightscape

November 1st

Philadelphia Orchestra
Yannick Nézet-Séguin - Conductor
Angela Meade - Soprano
Sarah Connolly - Mezzo-soprano
The Westminster Symphonic Choir

*Mahler - Symphony No. 2 ("Resurrection")*

Wonderful all around! Sarah Connolly performed a magnificent '_Urlicht_'. The pacing of each movement was marvelous; couldn't have asked for a better performance from the orchestra. I've now seen Maestro Nézet-Séguin perform 3 of Mahler's symphonies live (2,4,6) and loved every one of them.


----------



## Radames

Thursday I was in Boston for Sibelius Violin Concerto - plus a prelude of Bach’s E-major Violin Partita encore - and Schubert 9. The performance was dedicated to Mayor Thomas Menino, who died earlier in the day. 

Weekend was McGill where I heard the rarely played Barber Cello Concerto. Then Sunday Glens Falls for The Vaughn Williams 5th Symphony. Also on the program and interesting piece by Tippet - Fantasia on a Theme of Handel for piano and Orchestra. I missed the Patriots crush the Broncos - and it was worth it.


----------



## papsrus

Live performances are for the most part very much a seasonal thing here in Sarasota. But once the season gets going, lots of offerings. Last night I went to the first of this season's Artists Concert Series at the intimate Historic Asolo Theater.

The Morgenstern Trio:
Stefan Hempel, violin
Emanuel Wehse, cello
and Jonathan Aner substituting for the pregnant and unable to travel Catherine Klipfel on piano.

Program:
Adagio Notturno in E flat major -- Franz Schubert
Pianotrio op. 66 in C minor -- Felix Mendelssohn
D'un matin de printemps -- Lili Boulanger
(Intermission)
Piano trio in A minor -- Maurice Ravel 

Adagio Notturno was played very delicately, pianissimo so soft I leaned forward, even from about 6 rows back in the small theater. It was lovely. A wonderful trio.

The substitute pianist, Jonathan Aner, played as if he had been part of the trio all along, it seemed to me. There was no glancing back and forth or nodding among the musicians to signal pace or whatever, which you might expect with a substitute who, according to a radio interview with the group I listened to earlier in the week, had never played with the other two before his late addition for the North American tour. The trio performed with a cohesion and an ear toward one another that made you think they'd been playing together for years. Exceptional, in my opinion.

The Ravel piano trio in A minor to finish the evening was beautiful, so tender and solemn in parts, hopeful and exuberant in others. This piece was played after an intermission and I had changed seats from the floor seat I had for the first part of the concert (about 6 rows back and slightly to the left of center). For the second half of the concert I sat in some more elevated seats at the back, dead center. Such a small theater that even those rear seats are only about 12 rows back.

The change in acoustics was surprising. In my floor seat, from which I looked up slightly to the stage, the piano sounded a bit muffled, the sound escaping above my head and dispersed above in some other direction than the strings, which were clear. In the slightly elevated center-rear seat, the piano was much more clear and an equal voice in the trio. I asked an usher about my impression of the difference in acoustics and he agreed. It made a difference in my enjoyment of the Ravel as compared to the other pieces, although Notturno was a gorgeous way to open the concert. 

Interesting aside: the small, 200-seat or so, horseshoe-shaped theater (with three tiers of boxes -- four if you count the slightly elevated three rows of rear seats I was sitting in for the second half of the concert) was initially built in 1798 in Asolo, Italy. It was dismantled and put into storage in 1930, then was purchased by the Ringling Museum in 1949 and eventually reassembled inside a modern building where it is used for occasional small ensemble musical performances and occasional theater performances by the Asolo Repertory Theater Company, which mainly stages its performances next door in a larger facility. It's an enchanting place, billed as America's only 18th century European theater.


----------



## scratchgolf

My new definition of conundrum: Considering attending a performance of Schubert's "Death and the Maiden" in Montreal on November 21st when I already have tickets to attend Beethoven 6 in Albany on the 22nd.


----------



## LancsMan

Just got back from a concert in Manchester (which was live broadcast on Radio 3). 

Liadov: - Kikimora
Tchaikovsky: - Violin Concerto
Shostakovich: Symphony No. 10

Performed by the St. Petersburg Philharmonic, conducted by Yuri Temirkanov with Leticia Moreno on violin.

I made the trip for the Shostakovich, which was excellent, as should be expected from these players. 

As a sop for the English audience they played an Elgar lollipop as an encore.


----------



## Radames

LancsMan said:


> Just got back from a concert in Manchester (which was live broadcast on Radio 3).
> 
> Liadov: - Kikimora
> Tchaikovsky: - Violin Concerto
> Shostakovich: Symphony No. 10
> 
> Performed by the St. Petersburg Philharmonic, conducted by Yuri Temirkanov with Leticia Moreno on violin.
> 
> I made the trip for the Shostakovich, which was excellent, as should be expected from these players.
> 
> As a sop for the English audience they played an Elgar lollipop as an encore.


It's great to hear Russians play Russian.

I skipped Montreal Symphony last night - partly because I had to work late and partly so I could see the election results as they came in. Almost a HUGE upset in my state governor race.

Montreal is doing the same concert tomorrow so I didn't miss it. They also have an AM concert. 10:30 am - they do those once in a while.


----------



## Pugg

I am off to see/ hear this tonight :

* Ravel - Valses nobles et sentimentales
Saint-Saëns - Pianoconcert nr.5 'Egyptische'
Franck - Symfonie
Uitvoerendenopenen/sluiten
Rotterdams Philharmonisch Orkest
o.l.v. Michel Plasson
m.m.v. Louis Lortie piano*


----------



## Radames

Pugg said:


> I am off to see/ hear this tonight :
> 
> * Ravel - Valses nobles et sentimentales
> Saint-Saëns - Pianoconcert nr.5 'Egyptische'
> Franck - Symfonie
> Uitvoerendenopenen/sluiten
> Rotterdams Philharmonisch Orkest
> o.l.v. Michel Plasson
> m.m.v. Louis Lortie piano*


Sounds great. We should get to hear more Saint-Saëns concertos!

I am off tonight to Montreal for:

Mussorgsky, A Night on Bald Mountain

Szymanowski, Violin Concerto No. 1, Op. 35

Rachmaninoff, Symphonic Dances, Op. 45

with
Juraj Valčuha, conductor
Christian Tetzlaff, violin

They usually have $40 rush, but did not tonight. But I got a seat in the side chorus which I love. So I decided to go.


----------



## Zarathustra

Brahms Piano Concerto nº2 and Brahms 4th Symphony 
with pianist Joao Bettencourt da Camara and conductor Ernst Schelle


----------



## senza sordino

I just returned from a concert by the Vancouver Symphony.

*Fantasia on a Theme by Thomas Tallis*, Written by RVW. This was gorgeous, sumptuous. I had never seen this performed live, it's really interesting to see the different soloists and hear the hidden group behind.

Britten's *War Requiem* was the second piece to be played. This was terrific. The University of BC singers, three soloists, and a child's choir off stage. It's a long piece of music, and people were starting to fidget. I don't know the Requiem well myself, perhaps I've only heard it a couple of times in my life. The singing was great, the soloists were magnificent. I was in row 10, so I could clearly hear and see that chamber orchestra among the bigger orchestra.

Bramwell Tovey had us all in a trance at the end when they were singing "let them rest in peace, let them rest in peace". All the members of the choirs, orchestra and audience were under his spell as he stretched and held the final note. Then no more sound, but his baton his still up for quite a while. Someone in the audience had to break that spell by yelling out "bravo!" before Bramwell Tovey had put down his baton. There is always someone who has to yell Bravo! first. I thought this spoiled the effect, but certainly not the music.

I thoroughly enjoyed the concert.


----------



## BaronScarpia

On tonight's menu...

Scarlatti arias with the adorable and honey-voiced young soprano Elizabeth Watts, accompanied by Harry Bicket and the English Concert 

It's being played live on *RADIO 3* so if you're in the UK and like baroque opera I recommend you try and catch it!


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## Igneous01

*My first philharmonic concert*

So, I went to my very first concert this last Friday. I was a bit nervous, because I decided to go by myself and I wasn't familiar with the etiquette associated with going to one. I mean I did dress up nicely and made sure not to clap in between movements, so at least I wasn't a total newbie going there.

I was very excited however; my first concert and they were going to play Tchaikovsky's 6th Symphony. I had previously some issues with this work, mostly because I preferred the Niemann piano transcription.

The experience was surreal. The atmosphere this work generates when you are physically there listening is incredible. I was left speechless when they concluded the final movement, there was nothing I could literally say afterwards.

Unfortunately I had to go to work straight after as I had the night shift 

But overall I really enjoyed the concert - the orchestra was very very good for a small town in Poland.

I'm hoping to go back when I see something interesting in their repertoire again.

Just thought I'd share this - feel free to share your first experiences as well.


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## LancsMan

Just got back from a concert in Manchester. Music by Philip Glass, performed by Philip Glass and the Philip Glass Ensemble. 

I'm not a major fan of Philip Glass, but thought I should make the effort. I have a 3 disc box set of Glass in my CD collection but have mixed feelings over Glass. I much prefer John Adams. Anyway the concert reinforced my previous views. Some interesting pieces, but for me a number of them slightly outstayed their welcome. 

In terms of a concert experience I found the amplified sound slightly on the high side. As a visual experience it seemed quite flat compared to an orchestral concert or chamber recital. Four keyboard players (one a female vocalist too), with three wind instrumentalists, but not that much sign of physical effort to produce the music.

Anyway there seemed to be a good number of Philip Glass fans in the sizeable audience. With some reservations a good night out!


----------



## KenOC

Igneous01 said:


> So, I went to my very first concert this last Friday.


Wow, your first concert! That's really something. Hearing the music played live is truly a different experience. Glad you enjoyed it, and I wish you many more happy concerts!


----------



## JACE

Last night, my son Jacob and I went to see the *Russian State Symphony Orchestra*, conducted by *Valery Polyansky*. The concert was in Athens at the University of Georgia's Performing Arts Center.

The program was:
- Glinka: "Ruslan and Lyudmila" Overture 
- Tchaikovsky: Piano Concerto No. 1 - with Vladimir Feltsman as the soloist
- Rachmaninov: Symphony No. 1

It was a _fantastic_ concert. I really enjoyed Feltsman in the concerto, but the highlight of the night was definitely the Rachmaninov symphony. Lately, I've been on a big Rach-bender. So it was great to hear the music LIVE.

I've been listening to Jansons' and Ashkenazy's recordings of this work. But Polyansky & the Russian State SO have recorded it too. I'm going to have to check the CD out to see how it compares with the live performance.


----------



## Pugg

It's Friday so I am of to hear this :

*Rotterdams Philharmonisch - Beethoven en Sjostakovitsj*

vrijdag 14 november 2014

*Beethoven - Pianoconcert nr.5
Sjostakovitsj - Symfonie nr.8*

*Rotterdams Philharmonisch Orkest
o.l.v. Jukka-Pekka Saraste
m.m.v. Rudolf Buchbinder piano*


----------



## Radames

_Finally_ got to hear a live Tchaikovsky 4th played properly - it took a Russian orchestra to do it. First time I have been to Jorgensen on the UConn campus. Not a very good hall, but I have been in worse. And the traffic - there was a basketball game too. And for some reason college basketball seems to be more popular than the symphony. The main thing everyone does wrong in Tchaikovsky 4 is play the finale too slow. It should be done in 7 - 8 minutes. Most do it in around 9. The Russians did in in 7:30.


----------



## senza sordino

Last night I went to see the Vancouver Symphony. The soloist was *Tasmin Little*, and she really lived up to her name, she is little. She wore a lovely orange gown, and she has a wonderful smile. But anyway.....she played the *Korngold violin concerto.* Terrific playing though not a loud performance, not piercing like some soloists can be. I was in row 10, I could hear her fine, but I wonder about the people at the back of the theatre. I was a bit mesmerized by her, she does play magnificently. I was watching her technique. She made it look effortless. She did scratch one note, and she grimaced when it happened. I heard it, and saw her reaction. Oh well, this make performance all the more real to me. This certainly doesn't take anything away from the performance. I loved it.

At the interval she was signing CDs and posing for photos. I took four of my CD covers for her to sign. As I stood next to her I was a bit star struck. I would have tried to start a conversation, I'm not so incompetent. But the lady at the desk asked if I had paid for those CDs, and there were people behind me waiting. Ms Little did say she liked her own recording of the Lalo Symphonie Epagnole and Bruch Scottish Fantasy. This was a 15 yr old CD I had for her to sign. I was only with her a few moments, so I didn't get to say much at all.

The second half of the performance the Vancouver Youth Symphony joined the symphony orchestra to play *Copland Four Dances from Rodeo* and *Gerswhin's American in Paris* This performance was okay, but a bit of a traffic jam at times with so many people on stage, eight trumpets, eight horns etc. Many of the solos were played by the kids, and they did well. The kids obviously got a huge thrill and learning experience out of this. And their parents in the audience were told not to take photos. Their music teachers were invited also. It was nearly a full house.

I went last night to see and hear Tasmin Little, not the VYSO. And I was thoroughly pleased.

View attachment 56163


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## nightscape

*The Philadelphia Orchestra*
Jakub Hruša - Conductor
André Watts - Piano

*Janácek* - Jealousy
*Beethoven* - Piano Concerto No. 1
*Dvorák* - Symphony No. 8

Hruša did an absolutely marvelous job with the 8th.


----------



## papsrus

Went this afternoon to a string quartet drawn from members of the Sarasota Chamber Orchestra perform at the intimate Holley Hall -- basically a wide, shallow space with sufficient acoustic quality. General admission, so I was able to get front row pretty much dead center, which was great, particularly since the concert was sold out.

Schubert -- String Quartet No. 12 in C Minor, D. 703
Haydn -- String Quartet in F Minor, Op. 20 No. 5
Mendelssohn -- String Quartet No. 2 in A Minor, Op. 13

The standout for me was the Haydn. Very nice performance overall. And front row, I was practically sitting in with the quartet. Just great!


----------



## Mahlerian

Just came back from

*Boston Symphony Orchestra
cond. Andris Nelsons*
_Tchaikovsky: Hamlet Overture
Dean: Dramatis personae, for trumpet and orchestra
Stravinsky: The Rite of Spring_

The Tchaikovsky was a less familiar piece, and a tad repetitive, but it has a few nice themes in it. Nelsons clearly cares a good deal about the piece, as he's recorded with his last orchestra as well.

I wasn't overly enamored of the Brett Dean piece, which was given its American premiere in this series; although some of the microtonal effects in the second movement and the bizarre theatrics of the finale were interesting, the whole seemed a little long for its content. The soloist, Håkan Hardenberger, for whom the piece was written, coped well with its demands.

The Rite got a fine performance that started off a little slow but quickly gained momentum; the soloists did wonderfully and the details of the score were brought out. The famous polymetrical passage near the end of Part I was done as well as I've ever heard it on a recording, and the final sacrificial dance provided a wild ending that brought the audience to its feet.


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## Pugg

*Tonight for me :* in *Amsterdam *

*Chamber Orchestra of Europe
*
*Bernard Haitink* - dirigent

*Emanuel Ax* - piano

Program

*Brahms* - Derde symfonie in F, op. 90

*Brahms* - Eerste pianoconcert in d, op. 15


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## dgee

I heard that Dean a little while back and largely concur. Hated the ending - a loss of conviction! Overlong and over scored with some nice moments. Hardenberger still best trumpeter ever


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## ComposerOfAvantGarde

Recently saw a Sydney Symphony Orchestra concert conducted by Brett Dean.

Program included his trumpet concerto (Hardenburger as soloist) in the first half after two movements from Sibelius's "Scènes Historiques" and Sibelius's 3rd symphony after interval.

I did quite enjoy his own work, the finale was bizarre and had a certain touch of humour which wasn't prominent in the first two movements which I felt made for a great finale. The middle movement I can't quite remember.......contrary to what Mahlerian said, I feel like it would have been even better if _Dramatis Personæ_ could have been doubled in length rather than shortened, in order to perhaps tie in some "loose ends" or explore ideas more or something like that.


----------



## nightscape

Got back from seeing this tonight

*Johannes Quartet*
Perelman Theater, Philadelphia

*Mendelssohn*: Quartet in F Minor, Op. 80
*Bartók*: Quartet No. 6

*Dvořák*: Quintet in G Major, Op. 77


----------



## Pugg

Tonight for me: De Doelen Rotterdam

Datum
vrijdag 21 november 2014
Aanvang
20.15 uur
Zaal

*Verdi* - Ouverture La forza del destino
*Rimski-Korsakov *- Capriccio espagnol
*Rodrígo* - Concierto de Aranjuez
*Ravel *- Boléro

*Rotterdams Philharmonisch Orkest*
o.l.v. Xian Zhang
m.m.v. *Miloš Karadagli *gitaar

I am very curios to this guitarist.


----------



## Skilmarilion

Yesterday, I saw:

*Alice Sara Ott
LSO St. Luke's, London*

Beethoven - Sonata #17 in D minor,_ "Tempest"_
Liszt - _Grand etudes de Paganini_

I hadn't seen her live before, and thought she'd be really good, but I hadn't anticipated her being as _incredible_ as she was. She can play beautifully but what's most impressive is the force and power of her playing, during ridiculously difficult passages, for such a 'slender' woman.

She's playing the exact same concert in New York next week. If anyone has the chance to go, I would recommend without hesitation.

Also, if you see her live you can find out just how gorgeous she is as well in real life.


----------



## Radames

So many.. it's all blurring .. I remember Ottawa last night - Britten Variations on a Theme of Frank Bridge, Liszt Piano Concerto No. 2, Brahms Variations on a Theme of Haydn and Hindemith Symphonic Metamorphosis of Themes by Carl Maria von Weber. Montreal the night before had Wagner, Tristan und Isolde, Prelude and “Liebestod”, Schoenberg, Transfigured Night, Schubert, Symphony No. 8 in B minor, and Strauss, Four Last Songs. The night before that .. Dartmouth Handel and Haydn Society with Brahms Alto Rhapsody, Schicksalslied, Gesang der Parzen and Ave Maria then James Whitbourn's Anneliese (on the Diary of Anne Frank)


----------



## Vaneyes

Radames said:


> So many.. it's all blurring .. I remember Ottawa last night - Britten Variations on a Theme of Frank Bridge, Liszt Piano Concerto No. 2, Brahms Variations on a Theme of Haydn and Hindemith Symphonic Metamorphosis of Themes by Carl Maria von Weber. Montreal the night before had Wagner, Tristan und Isolde, Prelude and "Liebestod", Schoenberg, Transfigured Night, Schubert, Symphony No. 8 in B minor, and Strauss, Four Last Songs. The night before that .. Dartmouth Handel and Haydn Society with Brahms Alto Rhapsody, Schicksalslied, Gesang der Parzen and Ave Maria then James Whitbourn's Anneliese (on the Diary of Anne Frank)


No sleep, Concertgoer?


----------



## Skilmarilion

scratchgolf said:


> My new definition of conundrum: Considering attending a performance of Schubert's "Death and the Maiden" in Montreal on November 21st when I already have tickets to attend Beethoven 6 in Albany on the 22nd.


Both. Always go to both.


----------



## Haydn man

Last night in Liverpool
Kyung-Wha Chung and Kevin Kenner
Violin sonatas by
Mozart in G K379
Prokofiev in F minor 
Franck in A
Bach Chacone from Partita No 2

A fabulous evening recital by a master with excellent piano accompaniment


----------



## scratchgolf

Last night in Albany...

1. *Golijov - Last Round*: This one surprised me. I had watched it a few times in preparation and been underwhelmed. Modern and scratchy piece, molded after the Tango. I rather enjoyed the performance last night, and the 2nd half really slows down and falls into a hauntingly beautiful string piece. It's originally arranged for 2 string quartets and a single bass between them. Last night the ensemble was much larger. I'll be returning to this piece a few more times. *Grade: B+*

2. *Mendelssohn - Violin Concerto in E Minor*: A piece I'm quite familiar with so it would take a lot to really blow me away here. The soloist was Caroline Goulding and she handled the acrobatics quite well. She was a very animated and dressed in a manner which suggested she knew she was front and center. The orchestra supported her well and the piece was well received. *Grade:B*

3. *Beethoven - Symphony 6*: I didn't expect much and wasn't disappointed. Guest conductor, Mei-Ann Chen (Memphis) led a fast, yet suitable rendition of the classic symphony. There were a few noticeable mistakes (Horns/Clarinet) that even my 13 year old son pointed out after the performance. We were 4 rows off the stage, and centered on the Cello section, which provided an interesting new perspective. I was able to hear the Cellos quite clearly and focus on their parts, which are typically drown out on recordings. It is one of my favorite symphonies but overfamiliarity will always keep me from truly enjoying it as much as I may anticipate. *Grade: C+*

All in all, the evening was enjoyable, the crowd polite, the venue comfortable, and the atmosphere around the theatre was fun. Thanks to Jeff W. for the recommendations and information. We took dinner at the British Pub by the theatre and had a lovely evening.


----------



## nightscape

*The Philadelphia Orchestra
*
Susanna Mälkki - Conductor
Juliette Kang - Violin

*Respighi* - Botticelli Triptych
*Stravinsky* - Violin Concerto

*Brahms* - Symphony No. 4

Incredibly, this is the first time I've seen a female conductor. The 3rd movement of Brahms was a bit too fast for my taste, but the program overall was stellar.

Kang is the First Associate Concertmaster, and proved that an orchestral violinist is just as good as any permanent touring soloist. She nailed it.


----------



## Radames

Vaneyes said:


> No sleep, Concertgoer?


I sleep in my car a lot -outside of a Tim Horton's in Hudson Canada between Montreal and Ottawa.


----------



## Radames

nightscape said:


> Incredibly, this is the first time I've seen a female conductor..


Really? Even though not many major orchestras have female music directors I see plenty of women conduct. Hartford has a woman Carolyn Kuan. I saw Albany Symphony Saturday with Mei-Ann Chen conducting:

Osvaldo Golijov Last Rounds
Mendelssohn Violin Concerto
Beethoven Symphony No. 6, "Pastorale"

see scratchgolf's review above. I really liked the fast tempi in the Beethoven.


----------



## Dave Whitmore

I just bought tickets for this show hosted by the Riverside Opera Company. The concert is called Popera. It takes place this Saturday at Snug Harbor on Staten Island. Tickets are just $15 per person. I'm really looking forward to it! It features Nessum Dorma and the Overture to the Marriage of Figaro. It has arias sung from works by Mozart, Verdi, Puccini and Wagner. There's a full 50 piece orchestra conducted by Alan Aurelia.

Here's the link.

http://popera14.bpt.me/


----------



## Pugg

Tonight in Amsterdam , Concertgebouw

*Angela Gheorghiu *- sopraan

Marius Vlad Budoiu - tenor.
The program , without the encores.:lol:

Saint-Saëns - Bacchanale (uit 'Samson et Dalila', op. 47)
Puccini - Tu, che di gel sei cinta (uit 'Turandot')
Mascagni - Suzel, buon dì (uit 'L'amico Fritz')
Leoncavallo - Vesti la giubba (uit 'Pagliacci')
Bizet - Entr'acte (uit 'Carmen')
Verdi - Ave Maria (uit 'Otello')
Verdi - Dio, mi potevi scagliar (uit 'Otello')
Verdi - Già nella notte densa (uit 'Otello')
Dvořák - Slavische dans in C (uit 'Slavische dansen', op. 46)
Cilea - Ecco, respiro appena (uit 'Adriana Lecouvreur')
Cilea - Ma, dunque, è vero? (uit 'Adriana Lecouvreur')
Wagner - In fernem Land, unnahbar euren Schritten (uit 'Lohengrin')
Tsjaikovski - Polonaise (uit 'Jevgeni Onegin', op. 24)
Lehár - Dein ist mein ganzes Herz (uit 'Das Land des Lächelns')
Catalani - Ebben? Ne andrò lontana (uit 'La Wally')
Puccini - O soave fanciulla (uit 'La bohème')


----------



## Pugg

Tonight for me:

*Rotterdams Philharmonisch - Penderecki en Lutoslawski *
Datum 
vrijdag 28 november 2014 
Aanvang 
20.15 uur

*Penderecki* - Threnody to the Victims of Hiroshima
*Prokofjev* - Pianoconcert nr.3
*Lutoslawski* - Concert voor orkest

Rotterdams Philharmonisch Orkest
o.l.v.* Gustavo Gimeno*
m.m.v. *Boris Giltburg* piano


----------



## Guest

Tonight for me:
Brahms Violin Concerto
Dvorak Symphony no9

BBC Philharmonic
James Ehnes


----------



## pianississimo

Tonight for me in Bradford, England. 
http://www.bradford-theatres.co.uk/whats-on/brussels-philharmonic

Michel Tabachnik Conductor 
Alexander Sitkovetsky Violin Soloist

Borodin Polovtsian Dances
Sibelius Violin Concerto
Saint Saens Symphony No. 3

Love love love the violin concerto. Can't wait for this concert


----------



## Guest

gog said:


> Tonight for me:
> Brahms Violin Concerto
> Dvorak Symphony no9
> 
> BBC Philharmonic
> James Ehnes


I enjoyed the Brahms the best and Mr Ehnes felt moved to play the final part of a JS Bach violin sonata as an encore which was just stonking!


----------



## ComposerOfAvantGarde

Attended a piano recital of one of my close friends. The program was....

Bach: Prelude and Fugue in C sharp minor, BWV873
Beethoven: Piano Sonata no. 4 in E flat major, op. 7

Ravel: "Alborada del Gracioso" from "Miroirs"
Chopin: Ballade no. 4 in F minor, op. 52
Chopin: Andante Spianato & Grande Polonaise Brillante, op. 22

There was also an encore after each half (some Chopin études I think)

Absolutely amazing recital!


----------



## Dave Whitmore

The wife and I are getting ready to go to the Popera concert at Snug Harbor on Staten Island. It should be a great night!


----------



## TurnaboutVox

*Huddersfield Contemporary Music Festival 2014*

Town Hall, Huddersfield, Saturday 29th November

*James Dillon - Andromeda
Hèctor Parra - L'absència *UK premiere*
James Dillon - Physis I & II *World premiere
BBC Scottish Symphony Orchestra
Steven Schick conductor; Noriko Kawai piano

The Dillon Concerto for Piano and Orchestra 'Andromeda' was the pick of the three pieces this afternoon. Afterwards a man walked with the pianist, past us. "I think that's James Dillon" quoth my son. "It is" says the lady next to him. "I'm his wife!" Made my day, anyway.


----------



## TurnaboutVox

*Huddersfield Contemporary Music festival *

St Paul's Hall, University of Huddersfield, Saturday 29 November

*Philippe Manoury Quartet 0
Benedict Mason String Quartet No 2 * UK Premiere
*
James Clarke String Quartet No 3
Marco Stroppa new work* World Premiere
*Liza Lim The Weaver's Knot
Hilda Paredes Bitacora Capilar*

Arditti Quartet:
Irvine Arditti violin
Ashot Sarkissjan violin
Ralf Ehlers viola
Lucas Fels cello










Two concerts in one day - it felt unsatisfactory not to, after traveling so far. I've been interested in the work of the Arditti Quartet for a while, so this was an opportunity not to be missed. They were sublime, a group of musicians who made contemporary music making seem very easy and completely natural. A lovely venue too, in a converted Victorian church in Huddersfield town centre.


----------



## Pugg

This Sunday afternoon up to Amsterdam again.

The wonderful* Royal Concert gebouw orchestra* playing : *Mahler 6*
Conducted by their new principal conductor (as of next year )
*Daniele Getti *


----------



## Itullian

Pugg said:


> This Sunday afternoon up to Amsterdam again.
> 
> The wonderful* Royal Concert gebouw orchestra* playing : *Mahler 6*
> Conducted by their new principal conductor (as of next year )
> *Daniele Getti *


How are they liking Gatti?


----------



## Pugg

Itullian said:


> How are they liking Gatti?


They adore him, normally you hear nothing about he voting on the new conductor, but is seems to be a unanimous vote .

A friend of mine saw in on Friday and he said, that it's one of _the_ events of the year.


----------



## Itullian

Pugg said:


> They adore him, normally you hear nothing about he voting on the new conductor, but is seems to be a unanimous vote .
> 
> A friend of mine saw in on Friday and he said, that it's one of _the_ events of the year.


That's good to hear. Haitink will be a tough act to follow.


----------



## Pugg

Itullian said:


> That's good to hear. Haitink will be a tough act to follow.


They like Jansons to , with Chailly, it was a difficult "relationship "

But your right Haitink and that orchestra was chemistry. :tiphat:


----------



## senza sordino

Last night I went to the Vancouver Symphony.

Barber Vanessa Intermezzo
Mozart Violin Concerto #4 Soloist Phillipe Quint
Shostakovich Symphony #7 Leningrad

with guest conductor James Gaffigan, American. Conductor of Lucerne, principal guest conductor of Netherlands Radio orchestra and Cologne 

The Barber was nicely played, though I don't know the piece.

The Mozart Concerto was terrific, with a reduced sized orchestra. Phillipe Quint does move around a lot, and he was reading the score, which is a bit distracting. But the playing was superb. Delicate yet projected well. 

The Shostakovich was monumental. A lot of players on stage, many I didn't recognize so they brought in extra performers. Eight French horns, eight trumpets, many trombones and extra strings. It's not my favourite Shostakovich but to see it performed live was quite thrilling. A terrific performance, not a weak moment. The strings sounded so lush in the third movement. 

James Gaffigan looked rather difficult to follow, but he brought out everything from the orchestra. A long standing ovation after it was all over, but after that triumphant end it's hard not to jump to your feet.


----------



## Zarathustra

Tchaikovski 4th
Michail Jurowski conductor
Orquestra Sinfónica do Porto

With Brahms 4th earlier this month and Mahler's 4th in two weeks that'll be 3 4ths in a row.


----------



## Pugg

Itullian said:


> How are they liking Gatti?


This was amazing, there's chemistry and Maestro Gatti is spot on to tackle Mahler right on,
otherwise it will always be Haitink's ghost above his interpretations. :tiphat:


----------



## JACE

Good news. The Atlanta Symphony Orchestra lock-out is finally over. Both parties finally agreed to terms after a mediator was brought in. 

I'm looking forward to seeing some upcoming concerts. I expect the highlight will be Donald Runnicles conducting Mahler's Fifth.


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## ComposerOfAvantGarde

The best melbourne symphony orchestra concert I've seen this year! Osmo Vänskä conducts....

Aho: Minea
Sibelius: Violin Concerto (with Frank Peter Zimmerman)
Bach: Prelude from the E major partita (as encore)

Beethoven: Symphony no. 3


----------



## JACE

ComposerOfAvantGarde said:


> The best melbourne symphony orchestra concert I've seen this year! Osmo Vänskä conducts....
> 
> Aho: Minea
> Sibelius: Violin Concerto (with Frank Peter Zimmerman)
> Bach: Prelude from the E major partita (as encore)
> 
> Beethoven: Symphony no. 3


I'm jealous.  :cheers:


----------



## Taggart

Went to Norwich Baroque on Saturday for a Christmas Concert. They were accompanied by Jane May-Sysum - excellent- and the Minstrels' Gallery - a rather amateurish medieval group.

The first half O Magnum Mysterium by Victoria, Concerto a Quattro Op. 8 No. 6 by Torelli, and Alessandro Scarlatti's Cantata Pastorale - was excellent. Jane May-Sysum gave a superb rendition of the Scarlatti Cantata.

The second half opened with Jane May-Sysum giving two arias from the Messiah - 'He shall feed His flock' and 'I know that My Redeemer liveth' with the Pastoral Symphony in between. There was a slightly modern treatment of something described as the Adagio from Winter by Vivaldi. The leader, Jim O'Toole played the melody while the rest played pizzicato rather like a demented ukulele orchestra. There was an interlude of the Minstrels' Gallery much enlivened when Jane May-Sysum joined them for 'Es ist ein ros ensprungen' by Praetorius. Ms May-Sysum continued with Norwich Baroque for Tunder's Ein Kleines Kindelein. We then had Corelli's Concerto Grosso Op 6 No 8 - brilliantly played. Mr O'Toole at the end playing very softly so his notes sounded as clear and gentle as a shepherd's pipe.

We finished with an arrangement of the Coventry Carol sung by Jane May-Sysum with Herod's rage done on the violas in a striking manner. To ensure that we all left happy, they concluded with a baroque arrangement of Jingle Bells which made everybody smile.


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## Radames

Pugg said:


> This Sunday afternoon up to Amsterdam again.
> 
> The wonderful* Royal Concert gebouw orchestra* playing : *Mahler 6*
> Conducted by their new principal conductor (as of next year )
> *Daniele Getti *


Were his tempi really slowwww? His Mahler 3 in Boston a few years back was almost 110 minutes.


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## Pugg

Radames said:


> Were his tempi really slowwww? His Mahler 3 in Boston a few years back was almost 110 minutes.


The press and me are very satisfied with this performance , and nothing unusual to me.
I didn't time sorry.


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## Pugg

Tonight Mahler again, this time:

*Mahler 9 met Jaap Van Zweden*

Datum
donderdag 4 december 2014
Aanvang
20.15 uur

Mahler - Symfonie nr.9

*Rotterdams Philharmonisch Orkest*
o.l.v. Jaap van Zweden


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## SixFootScowl

Attended Handel's Messiah last night at Hill Auditorium on the campus of the University of Michigan. The sound at Hill Auditorium is wonderful. The soloists:
Janai Brugger, soprano, was very good and has an unusual voice. I am not sure how to describe it, very rich, heavy. Unlike any soprano I have heard before.
David Daniels, countertenor, was very good (and I am not fond of countertenors). 
Colin Ainsworth, tenor, did not seem exceptional, though more than adequate.
David Pittsinger, bass-baritone, was very good, quite a range, very clear even on the lowest notes.


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## ComposerOfAvantGarde

Florestan said:


> Attended Handel's Messiah last night at Hill Auditorium on the campus of the University of Michigan. The sound at Hill Auditorium is wonderful. The soloists:
> Janai Brugger, soprano, was very good and has an unusual voice. I am not sure how to describe it, very rich, heavy. Unlike any soprano I have heard before.
> David Daniels, countertenor, was very good (and I am not fond of countertenors).
> Colin Ainsworth, tenor, did not seem exceptional, though more than adequate.
> David Pittsinger, bass-baritone, was very good, quite a range, very clear even on the lowest notes.


I think David Daniels is excellent. Have you heard any Philippe Jaroussky recordings?


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## SixFootScowl

ComposerOfAvantGarde said:


> I think David Daniels is excellent. Have you heard any Philippe Jaroussky recordings?


Excellent would certainly fit what I heard. I have never heard of Philippe Jaroussky.


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## ComposerOfAvantGarde

Florestan said:


> Excellent would certainly fit what I heard. I have never heard of Philippe Jaroussky.


Possibly the best countertenor around.


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## SixFootScowl

ComposerOfAvantGarde said:


> Possibly the best countertenor around.


Yes, but I have always preferred a woman singing with vocals in that range.


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## pianississimo

Tomorrow is my last concert of the year. One of my favourite concert places, Ilkley Concert Club 
http://concertclub.ilkley.org/
The brilliant volunteer-run organisation in the tiny market town near Leeds, England is currently in it's 69th concert season.

JEAN-EFFLAM BAVOUZET (piano)

Beethoven Sonata No. 22 in F major, Op. 54 
Beethoven Sonata No.23 in F minor, Op.57 [Appassionata]
Bruno Mantovani Le Livre de Jeb 
Ravel	Miroirs 
Bartok Sonata for Piano

I hadn't heard of the third one. I read up and it's about him J E B - wow!

Good way to end a busy concert year!


----------



## Pugg

Tonight for me :
( weather permitted) 
Datum
vrijdag 12 december 2014
Aanvang
20.15 uur
Zaal
Grote Zaal

*Schubert *- Symfonie nr.8 'Onvoltooide'
*Debussy* - Nocturnes
*Poulenc* - Stabat Mater
Uitvoerendenopenen/sluiten
*Rotterdams Philharmonisch Orkest*
o.l.v. *Yannick Nézet-Séguin*
m.m.v. *Kate Royal* sopraan
Collegium Vocale Gent


----------



## Itullian

Pugg said:


> Tonight for me :
> ( weather permitted)
> Datum
> vrijdag 12 december 2014
> Aanvang
> 20.15 uur
> Zaal
> Grote Zaal
> 
> *Schubert *- Symfonie nr.8 'Onvoltooide'
> *Debussy* - Nocturnes
> *Poulenc* - Stabat Mater
> Uitvoerendenopenen/sluiten
> *Rotterdams Philharmonisch Orkest*
> o.l.v. *Yannick Nézet-Séguin*
> m.m.v. *Kate Royal* sopraan
> Collegium Vocale Gent


Nice ..................


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## Skilmarilion

Pugg said:


> *Kate Royal* sopraan


She's a beauty. :tiphat:


----------



## Zarathustra

Mahler 4th
Christoph König maestro
Zoe Nicolaidou soprano
Orquestra Sinfónica do Porto

An ok concert with a lot of children where unfortunately people decided to clap in between movements.


----------



## Radames

Zarathustra said:


> Mahler 4th
> Christoph König maestro
> Zoe Nicolaidou soprano
> Orquestra Sinfónica do Porto
> 
> An ok concert with a lot of children where unfortunately people decided to clap in between movements.


Clapping between movements happens when you have audiences that don't usually attend classical concerts. Don't usually see lots of kids at Mahler concerts.

Not much going on near me but Christmas concerts which I avoid and youth orchestra concerts. I hit two of those over the weekend. Got to hear a movement of Mercadante's Flute Concerto in E minor. Good stuff!


----------



## ComposerOfAvantGarde

Zarathustra said:


> Mahler 4th
> Christoph König maestro
> Zoe Nicolaidou soprano
> Orquestra Sinfónica do Porto
> 
> An ok concert with a lot of children where unfortunately people decided to clap in between movements.


I dont mind claps between movements. What I dislike is the awkward coughing and audience rustle that happens between movements when people don't clap.


----------



## omega

*Schubert* _Symphony n°3_
Great energy!

*Mozart* _Violin Concerto n°3 'Strasbourg'_ (violin: Ray Chen)
Beautiful and elegant playing, despite quite irrelevant cadenzas

*Schubert* _Gesang der Geister über den Wassern_
I didn't know this mysterious piece...

*Poulenc* _Gloria_ (soprano: Kristina Bitenc)
Wonderful!

Orchestre Philharmonique de Strasbourg | Choeur de l'OPS
Conductor: Marko Lentonja

Wonderful evening!


----------



## CyrilWashbrook

Went to a concert of the Melbourne Symphony Orchestra a couple of weeks ago. Programme:

*Aho* Minea - Concertante Music for Orchestra
*Sibelius* Violin Concerto
*Beethoven* Symphony No. 3

Conducted by Osmo Vänskä. Soloist was Frank Peter Zimmermann.

The performances were good. Really liked the Aho.

To pick up on the discussion a couple of posts up, the audience were poorly behaved. The amount of noise between movements and, for that matter, during the movements was embarrassing.

At the end of the first movement of the Sibelius, one young audience member felt the need to let fly with a "WOOOO!" cheer. By about the halfway mark of the Beethoven, I think most audience members had cottoned onto the fact that applause between movements isn't generally the done thing, but a couple of people decided to clap ostentatiously anyway.

A few rows away from where I was sitting, there was a man who felt the need to hum and talk constantly through the Beethoven. And just to outdo all of that, some other man let out a massive shriek in the middle of a quiet passage.


----------



## Radames

Montreal Friday 12/19:

CORELLI
Concerto Grosso, Op. 6, No. 8
“The Christmas Concerto”

TCHAÏKOVSKI
Variations on a Rococo Theme

Symphony No. 1 “Winter Dreams”

Albany Saturday 12/20:

World premiere of Michael Torke’s new cello concerto, “Winter’s Tale”

There were NO notes about it in the program. The composer was there and the conductor David Allen Miller brought him out to talk about the piece before it was played. But he didn't really say anything! Just a few words. I'm no reviewer, but I liked it. 30 minutes, 5 movements. Lyrical and melancholic. 

Corelli’s “Christmas Concerto" again. Also Bach's 1st orchestra suite. Finished with Stravinsky’s “Pulcinella” Suite.


----------



## ComposerOfAvantGarde

CyrilWashbrook said:


> Went to a concert of the Melbourne Symphony Orchestra a couple of weeks ago. Programme:
> 
> *Aho* Minea - Concertante Music for Orchestra
> *Sibelius* Violin Concerto
> *Beethoven* Symphony No. 3
> 
> Conducted by Osmo Vänskä. Soloist was Frank Peter Zimmermann.
> 
> The performances were good. Really liked the Aho.
> 
> To pick up on the discussion a couple of posts up, the audience were poorly behaved. The amount of noise between movements and, for that matter, during the movements was embarrassing.
> 
> At the end of the first movement of the Sibelius, one young audience member felt the need to let fly with a "WOOOO!" cheer. By about the halfway mark of the Beethoven, I think most audience members had cottoned onto the fact that applause between movements isn't generally the done thing, but a couple of people decided to clap ostentatiously anyway.
> 
> A few rows away from where I was sitting, there was a man who felt the need to hum and talk constantly through the Beethoven. And just to outdo all of that, some other man let out a massive shriek in the middle of a quiet passage.


Hey was this at Hamer Hall in December? I may have been one of the people guilty of the crimes you mention.....


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## CyrilWashbrook

ComposerOfAvantGarde said:


> Hey was this at Hamer Hall in December? I may have been one of the people guilty of the crimes you mention.....


I attended the one on 27 November.


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## ComposerOfAvantGarde

CyrilWashbrook said:


> I attended the one on 27 November.


Oh thank goodness! I read a review of that concert recently which mentioned a few things about the behaviour of the audience! :lol:


----------



## CyrilWashbrook

ComposerOfAvantGarde said:


> Oh thank goodness! I read a review of that concert recently which mentioned a few things about the behaviour of the audience! :lol:


I think I read the same one.

On the Sibelius: "The audience launched into spontaneous applause between movements, causing Zimmermann to cast an amusingly sardonic eye over the offenders."

On the Beethoven: "The solitary cry of a constipated lunatic echoed across the hall during the sombre funeral march, visibly startling members of the orchestra, not to mention the audience."


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## joen_cph

On the 23rd, went to a free concert in the Baroque Church of Our Saviour here in Copenhagen, a landmark whose spiralling outside staircase on the bell-tower provides magnificent views of the city.
The concert consisted of Messiaen´s _La Nativite du Seigneur _for organ, accompanied by fascinating light- and colour effects in the church interior and on the Baroque main altar.


----------



## pianississimo

Bit of a busy concert week next week. I'm heading south to the midlands, after some chamber music in Ilkley...

*Wednesday*, Ilkley Concert Club http://concertclub.ilkley.org/
MALIN CHRISTENSSON soprano
JOSHUA ELLICOTT tenor
SIMON LEPPER piano
A celebration of love featuring songs and duets for soprano and tenor
by Schubert, Brahms and Schumann

*Thursday*, Symphony Hall Birmingham http://www.cbso.co.uk/?page=concerts/viewConcert.html&cid=2963&m=01&y=
Alexander Vedernikov conductor
Nikolai Lugansky piano
Rachmaninov: Vocalise
Rachmaninov: Piano Concerto No. 3 
Tchaikovsky: Suite No. 3 41'

*Friday*, CBSO Centre, Birmingham. http://www.cbso.co.uk/?page=concerts/viewConcert.html&cid=3018&m=01&y=2015
Nikolai Lugansky piano
Byron Parish violin
David Powell cello
Franck: Sonata in A for cello and piano 
Brahms: Piano Trio No.2 in C, Op.87

*Saturday* - repeat of Thursday's concert.
http://www.cbso.co.uk/?page=concerts/viewConcert.html&cid=2964&m=01&y=2015

can't wait!!


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## classicalremix

Sounds amazing!


----------



## Radames

The Christmas lull is finally coming to an end. I braved the cold - and it was COLD!!- and went to Ottawa last night to hear :


Marc Neikrug: Bassoon Concerto
Carl Nielsen: Little Suite
Schumann Symphony No. 3, “Rhenish”

Hall was only half full at most. Too cold maybe. I wasn't crazy about the Neikrug, but it didn't give me a headache. It's always good to here the great Dane and I really wanted to hear the Rhenish because I miss the Albany Symphony to it last season when my car died.


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## pianississimo

Heard the second of my two concerts tonight. Loved every minute  my very first concert was this orchestra, soloist and concerto so it was a nostalgia trip! Conductor was Alexandr Vedernikov who whipped the orchestra up into a frenzy in the Rachmaninov, this evidently pleased Nikolai Lugansky who played like a man possessed! Brilliant Tchaikovsky orchestral suite in the second half of the concert too. The orchestral suites don't get as much attention as his great symphonies but they're easily weighty enough for concert performance - especially this one which has a wonderful violin solo section. The lead violinist with the CBSO played it superbly. 

If you're in the UK you can listen to the concert as it was broadcast live on radio 3 and will be available on BBC iplayer radio for 3 weeks. If anyone knows how you can listen to these overseas could you please let me know. 

More music tomorrow. Lucky me


----------



## pianississimo

Fantastic chamber music this afternoon in Birmingham. I was glad to see the CBSO centre pretty much full for the cello adapted Franck sonata in A and the Brahms trio no 2 in C. CBSO players Byron Parish and David Powell appeared with Nikolai Lugansky. They can't have had all that long to prepare for such complex and demanding pieces but they were flawless. I especially enjoyed the Frank. It's one of my favourite duo sonatas and Lugansky recorded it with violinist Vadim Repin a couple of years ago. The Brahms surprised me. I have a recording of it by Barenboim and DuPres which should be great but I found it a bit pedestrian and bland. I'd like to appreciate Brahms more so I was pleased to find the live performance very lively and full of amazing detail. Gypsy themes combine with smooth harmonies and the whole thing is capped off by a soaring rondo which finishes the piece triumphantly. The three got a great response from the audience and it was well deserved. I'll be looking out for the two CBSO players in the repeat of Thursday's concert tomorrow.


----------



## papsrus

Went to a performance this afternoon by the Sarasota Orchestra led by conductor/music director Anu Tali, in her first full season leading the orchestra.

Program:
Strauss -- Death and Transfiguration
Mozart -- Piano Concerto No. 21 in C major (Tamara Stefanovich, piano)
Tchaikovsky -- Romeo and Juliet Fantasy Overture
Ravel -- Suite No. 2 from Daphnis et Chloe

The opening piece -- Death and Transfiguration -- was certainly played beautifully by the orchestra, but it begins so gently that it was a bit hard to grab hold of with the audience still settling in and rustling around a little bit.

The piano concerto was delivered skillfully in the very capable hands of Stefanovich, with the orchestra parred down to near chamber size. It's a piece that allows a skilled pianist to show their stuff, and Stefanovich certainly did that.

The Romeo and Juliet overture was fine, but felt perfunctory somehow. Beautiful music played with sensitivity, but nothing really stood out.

The highlight for me was the Ravel, with full orchestra of about 90 strong navigating the shifting tempos with aplomb. Various sections of the orchestra each took their moment to shine, which I really enjoyed. The orchestra really played with assurance and muscle here. The audience that rustled a bit through Strauss was transfixed here.

We're fortunate to have Tali leading the orchestra. She replaced a music director who had been at the helm for about 15 years.

Overall a solid B+ performance, elevated by both the Mozart concerto and the Ravel.

The theme of the concert, for those who haven't detected it yet from the pieces, was "In Love." All three performances were sold out, which is nice. Sat near the rear, center and the orchestra sounded great. Much more balanced than a previous concert where I was off to the right so that the cellos kind of had their backs to me, and so were somewhat lost to me. Center = better.


----------



## Taggart

Went to Norwich Baroque last night in St Peter Mancroft -a great barn of a place with an inefficient heating system - not up to an icy January evening.

The concert was organised around a visit by Simon Munday a baroque trumpeter who plays with (among others) La Serenissima. Although the programme claimed he was playing on the Natural Trumpet, it was in fact a Baroque Trumpet - or modern copy with vent holes to allow easier playing of diatonic scales. Mr Munday demonstrated the pure harmonic series with the slightly odd notes but did not attempt to correct them with embouchure but rather with the vent holes to show the approximate sound of a true natural trumpet. Niggles apart, it was an impressive display.

The first half was Telemann's Trumpet Concerto No 1 in D, Albinoni's Sinfonia in G Minor, the first of Hellendall's 6 Grand Concertos and concluded with Torelli's Trumpet Sonata in D. The music felt a little "thin" possibly because the players were feeling the cold, but it was a good start. As Mr Munday commented, Telemann may be less "complicated" than Bach but he has some delightful tunes and the Trumpet Concerto demonstrated that. Hellendall was a Dutchman who took over from Charles Burney at Kings Lynn before moving to Cambridge. His music has a freshness and spontaneity that delights the listener. Torelli wrote for the very large Bolognese church of San Petronio and his music certainly suited St Peter Mancroft.

The second half began with the second of Corelli's op. 6 Concerti Grosso. This was excellently played. The group sounded much more confident and produced an excellent sound. The concluding piece was Telemann's Suite No. 1 for Trumpet and Strings where the trumpet was more of an orchestral instrument than a solo piece. This was twenty minutes of bliss with the strings, continuo (harpsichord and double bass) and trumpet weaving their way through a selection of dance tunes and airs. Utterly delightful.


----------



## Pyotr

Wife and I saw this last Friday, January 16th. She’s having a temporary situation with one of her feet, nothing serious, but we exchanged our normal seats for those in the handicap wheelchair section(for an extra $100). Best seats in the house. I’ve seen the Nutcracker ballet many times but to hear the Phil. Orchestra play it live was a real treat. Although I missed the ballerinas and expected them to pop out on to the stage. I was a little disappointed the orchestra didn’t play the last number, The Final Waltz, which is my favorite. That would have brought the house down. Nézet-Séguin, chose most of the numbers from the more narrative Act I passages rather the Act II dances. I ‘m not real familiar with Tchaikovsky’s 5th symphony. It sounded a little like a Brahms symphony to my novice ear. If you’re a Tchaikovsky’s fanatic, which I most definitely am, this was a night for you. 

PROGRAM
Conductor - Yannick Nézet-Séguin
1.Glazunov - "Winter," from The Seasons
2.Tchaikovsky, selections from The Nutcracker
-Clara and the Nutcracker
-Battle Scene
-A Pine Forest in Winter
-Waltz of the Snowflakes
-Pas de deux
INTERMISSION
3.Tchaikovsky - Symphony No. 5


----------



## papsrus

This afternoon:

A chamber performance titled "Trumpet," featuring some of the principals of the Sarasota Orchestra -- although trumpets were featured only in the first, brief piece and the final piece. More on that below.

I sat dead center, three rows back in the cozy 250-or-so seat hall.

Program:
Britten -- Fanfare for St. Edmunsbury
Mendelssohn -- Piano Trio No. 1 in D minor, Op. 49
Strauss -- Serenade in E flat major, Op. 7
Vivaldi -- Concerto for Two Trumpets in C major, RV 537

The Britten is a short call and response piece. For this performance one trumpet was positioned center stage, one trumpet was in the upper right balcony at the side of the stage, the third was in the upper left balcony at the other side of the stage. Very effective for this brief intro piece, which also includes some nice polyphony with all three trumpets. Short, sweet.

The Mendelssohn was the standout. Piano, cello, violin. I've heard the violinist, Jennifer Best Takeda, in another string quartet she performs with in a local church here and she's wonderful. This was, to me, the best music of the afternoon, played with real sensitivity and passion. I was pleased but curious as to why it was included in a performance ostensibly devoted to trumpet / brass / woodwind pieces. Nonetheless, the packed house ate this one up, bursting into a brief, spontaneous (but frowned upon) round of applause after the first movement. Beautiful melodies with the melodic lines passed around among the instruments, then developed, then returned to again and passed around. I'll have to listen to this piece again. 

The Strauss was performed by a 13-piece ensemble, all woodwinds with french horns. Particularly enjoyed paying attention to the bassoon and contrabassoon players as they provided what could almost be described as a little funk to the proceedings. Another brief piece -- perhaps 10 minutes. 

They wheeled out a harpsichord for the Vivaldi, and a string ensemble of perhaps 12 players backed the principal and co-principal trumpet players from the orchestra for this piece. The principals played beautifully together. The one disappointment was that the harpsichord was barely audible. I had high hopes for this but they positioned the instrument so that it was pointing straight out toward the audience rather than sideways, as they typically do with a piano. And it was in the center-back of the ensemble. Maybe this is typical, I don't know. They must have thought about this, but the instrument was mostly lost behind the trumpets, certainly, and the strings on either side.

All in all, Mendelssohn's piano trio gets an A. The rest fell somewhere short that fine performance, but very enjoyable nonetheless.


----------



## senza sordino

Last night I went to the symphony with my parents. Since we bought tickets at different times we didn't sit together, but we had drinks before and at the intermission, and I bought them dinner before. My parents are doing quite well, they're only 20 years older than me, and I'm 50 this yr. We all be in a retirement home together soon enough. 

The concert: Vancouver Symphony Orchestra, Guest conductor Ben Gernon from the UK, young and very talented. 

Nielsen Aladdin Suite. 
Shostakovich Piano Concerto #2 with soloist Kirill Gerstein
Sibelius Symphony #5

I thoroughly enjoyed the show, especially the Aladdin Suite. I've heard it before, but to see it performed was thrilling, especially part five with several different rhythms and tunes simultaneously. The Shostakovich was fine. The Sibelius I know so well, because I've performed it with my little local orchestra. I thought Ben Gernon took those five final chords a bit fast, but otherwise terrifically done.


----------



## PeteW

senza sordino said:


> Last night I went to the symphony with my parents. Since we bought tickets at different times we didn't sit together, but we had drinks before and at the intermission, and I bought them dinner before. My parents are doing quite well, they're only 20 years older than me, and I'm 50 this yr. We all be in a retirement home together soon enough.
> 
> The concert: Vancouver Symphony Orchestra, Guest conductor Ben Gernon from the UK, young and very talented.
> 
> Nielsen Aladdin Suite.
> Shostakovich Piano Concerto #2 with soloist Kirill Gerstein
> Sibelius Symphony #5
> 
> I thoroughly enjoyed the show, especially the Aladdin Suite. I've heard it before, but to see it performed was thrilling, especially part five with several different rhythms and tunes simultaneously. The Shostakovich was fine. The Sibelius I know so well, because I've performed it with my little local orchestra. I thought Ben Gernon took those five final chords a bit fast, but otherwise terrifically done.


Sounds excellent.
That Shostakovich is one of my real favourites, always has been.
Should be seeing my own parents in a couple of weeks (they're in Glasgow).


----------



## Radames

senza sordino said:


> Last night I went to the symphony with my parents. Since we bought tickets at different times we didn't sit together, but we had drinks before and at the intermission, and I bought them dinner before. My parents are doing quite well, they're only 20 years older than me, and I'm 50 this yr. We all be in a retirement home together soon enough.
> 
> The concert: Vancouver Symphony Orchestra, Guest conductor Ben Gernon from the UK, young and very talented.
> 
> Nielsen Aladdin Suite.
> Shostakovich Piano Concerto #2 with soloist Kirill Gerstein
> Sibelius Symphony #5
> 
> I thoroughly enjoyed the show, especially the Aladdin Suite. I've heard it before, but to see it performed was thrilling, especially part five with several different rhythms and tunes simultaneously. The Shostakovich was fine. The Sibelius I know so well, because I've performed it with my little local orchestra. I thought Ben Gernon took those five final chords a bit fast, but otherwise terrifically done.


Argg! Sibelius 5th! that's the one I missed last week when I couldn't get off work in time to get to Hartford.

Over the weekend I got to hear the Elgar Violin Concerto with the young violinist violinist Elena Urioste. She played great. I hope to see more of her.


----------



## Vaneyes

senza sordino said:


> Last night I went to the symphony with my parents. Since we bought tickets at different times we didn't sit together, but we had drinks before and at the intermission, and I bought them dinner before. *My parents are doing quite well, they're only 20 years older than me, and I'm 50 this yr. We all be in a retirement home together soon enough. *
> 
> The concert: Vancouver Symphony Orchestra, Guest conductor Ben Gernon from the UK, young and very talented.
> 
> Nielsen Aladdin Suite.
> Shostakovich Piano Concerto #2 with soloist Kirill Gerstein
> Sibelius Symphony #5
> 
> I thoroughly enjoyed the show, especially the Aladdin Suite. I've heard it before, but to see it performed was thrilling, especially part five with several different rhythms and tunes simultaneously. The Shostakovich was fine. The Sibelius I know so well, because I've performed it with my little local orchestra. I thought Ben Gernon took those five final chords a bit fast, but otherwise terrifically done.


That's good and funny. :tiphat:


----------



## Guest

Er, I'm off to hear a guitarist and I don't even know what he's performing. Adventurous or stupid!!???!!


----------



## PeteW

gog said:


> Er, I'm off to hear a guitarist and I don't even know what he's performing. Adventurous or stupid!!???!!


Adventurous...
I take it you know who the guitarist is?


----------



## Vaneyes

Hey, it's gotta be better than Seinfeld and Cheers reruns.


----------



## Guest

PeteW said:


> Adventurous...
> I take it you know who the guitarist is?


Indeedy! Milos Karadaglic. Front row seat. Sor, Regondi, Bach, de Falla, Jobim, Velazquez and Benjoe. Eclectic set and very enjoyable.


----------



## PeteW

gog said:


> Indeedy! Milos Karadaglic. Front row seat. Sor, Regondi, Bach, de Falla, Jobim, Velazquez and Benjoe. Eclectic set and very enjoyable.


Aha. Yes, it was always going to be excellent no matter what the programme!
Sounds great.


----------



## Guest

PeteW said:


> Aha. Yes, it was always going to be excellent no matter what the programme!
> Sounds great.


Yes it was, I confess I had not heard of him.


----------



## papsrus

Just back from two great nights in New York.

Thursday:
New York Philharmonic; Emanuel Ax, piano; David Robertson, conductor
Avery Fisher Hall

Rachmaninoff - Vocalise
Chopin - Piano Concerto No. 2
(intermission)
Stravinsky - Firebird Suite (substituted for the originally programmed The Song of the Nightingale)
Bartok - The Miraculous Mandarin Suite

OK, I don't feel qualified to comment on the interpretations given or the strengths of the orchestra, beyond saying that the NYPO and Ax were both excellent. I was most interested in the Chopin, as the concerto's exquisite lyricism and melodic beauty captured me from the first time I listened to it. I enjoyed it with the following caveat:

My ticket was for first balcony, center, last row (that's about 6 rows back). And this is where I sat for the first part of the concert (Rachmaninoff, Chopin).That was a mistake in the acoustically prickly Avery Fisher. I should have known better. 

While the articulation of the orchestra and Mr. Ax were clear not blurred, the music sounded as though it was being played on the other side of a pane of glass. Weak and distant. This due, I'm sure, to the large overhang above the first balcony in the rather large hall. The young couple sitting off to the right of me one row forward texting away on their phones didn't help. Despite the repeated glares from other patrons, they continued on unconcerned. ********. I just closed my eyes and ignored the whole thing as best I could.

At intermission I asked an usher if I could move down to one of the open seats at orchestra level (the hall was about 3/4 full, so there were plenty of good seats open down there.) She said that was fine, and advised me to just wait for the two-minute bell and snag whatever seat was open at that point. So I did, situating myself dead center about 3/4 the way back. The difference in the acoustics was quite pronounced. I could hear the orchestra in both pianissimo and forte quite clearly and fully; the sound was louder and right there in front of my nose when I closed my eyes (not behind a pane of glass somewhere) and so I obviously enjoyed the two latter pieces much more than the Chopin I had primarily come to hear.

Not really a disappointment, despite missing Chopin in full bloom, as I was pleased to hear the NYPO in distinctly fuller force in the second half of the performance. 

Keep in mind I'm used to my local band, which is skilled and really enjoyable. But hearing the seamless, shimmering strings and the power of the NYPO there at Robertson's command anytime he asked for it was really impressive. Likewise, to hear them in delicate pianissimo with full, clear articulation was thrilling.

My advice for Avery Fisher: Get orchestra level seats in the center. The closer to the front the better, I assume. Although rear was great. And the folks down at orchestra level are there for the music, not to text their friends, "OMG I'm at the Linkin Cenner."

Friday:
Chicago Symphony Orchestra; Richardo Muti, conductor
Carnegie Hall

Mendelssohn - Calm Sea and Prosperous Voyage Overture
Debussy - La Mer
(Intermission)
Scriabin - Symphony No. 3 "The Divine Poem"

Now for this performance I originally had seats again in the first balcony, center, which by all accounts are fine, perhaps even the best, at Carnegie. But given my previous night's experience, I upgraded the day of the performance to orchestra level, center, 6 rows from the stage. It was perhaps the greatest musical experience of my life. No ****. The Chicago orchestra with Muti is an incredible force. Forget the famed brass, the strings on all sides were sublime. The hall radiant. The audience quiet and attentive. You still can't wipe the smile off my face today. 

The first violinist, or concertmaster, Robert Chen was exuberant, bouncing forward in his chair as he would dig into particularly vigorous passages. And Muti was thrilling to watch, the way he teased out or forcibly willed various sections of the orchestra, turning to face the violins or standing on his toes to direct the oboes or brass.

Absolutely thrilling orchestra.

Quite a different audience at Carnegie as compared to Avery Fisher, as well. Or perhaps that impression was due to my choice of seating. I was up in what felt like the upper deck of a tourist bus as Avery Fisher, while at Carnegie many of the patrons I sat amongst greeted one another as familiar friends. They seemed more hip, more eccentric. And as I said, the audience at Carnegie was more engaged / respectful of the performance than was the balcony brigade at AF, certainly.


----------



## Albert7

Tonight. Great stuff!


----------



## papsrus

Sunday afternoon:

Sarasota Orchestra

Part -- Cantus in Memoriam to Benjamin Britten
Beethoven -- Piano Concerto No. 4 (with Steven Hough)
Elgar -- Enigma Variations

Another packed house for the Sunday afternoon concert, the last of three straight performances of the same program -- Friday, Saturday, Sunday.

The Memoriam to Britten was stirring -- all strings (plus a mournful bell). The lonely ring of the bell starts this piece, which if played in a moment of true sadness, I'd end up weeping. The sumptuous strings, with long, slow bowing technique, are a solemn descent into wrenching sadness. Beautifully played. Loved it.

The Beethoven concerto was fine, but came off a little choppy, a little unfocused perhaps, or tired. Technically fine, I'd guess, but emotionally just not there.

The Enigma Variations followed intermission. These were excellent. You can sense when the music is beginning to really grab the audience. They become noticeably more attentive. Such was the case with these tributes to 14 of Elgar's friends. I'll have to listen to these more closely, but Variation IX (Nimrod) certainly stood out, among others. Very pleased with the orchestra's command of these.

-------------------
Sunday night:

The last of my little four-day binge might just have been the most beautiful.

Adrian Anantawan, violin; Amy Yang, piano.

Mozart -- Sonata for Violin and Piano in F major
Brahms -- Sonata No. 1 for Violin and Piano in G major, Op 78
Intermission
Ravel -- Sonata for Violin and Piano, No. 2 in G major

Held at the Historic Asolo Theatre, which I've mentioned before. A charming little place perfect for these kinds of recitals.









I was in the first little slightly elevated tier, front row, center. Perfect seats in this venue.

Anantawan and Yang have been playing together for about 10 years, Yang said. This concert was part of the Artist Series Concerts that have grown here over the last 15 years from soirees held in private homes to what they are today: out of town talent brought in for a series of concerts in this intimate, beautiful little theater.

Great acoustics, great atmosphere, rapt audience, sparkling performance.

One other thing that was special tonight I did not even notice until about halfway through the Mozart: The violin player, Anantawan, was missing his right, bowing hand; most of his arm below the elbow, actually. He had the end of the bow attached somehow to a sort of plastic fitting where his arm ended. And he played beautifully throughout. Pianissimo, forte, vibrato, the whole shooting match. Was able to pluck the strings in an amazing way, using just his left hand -- he would use his forefinger and middle finger to hold down the notes and pluck with his last two fingers. Really impressive. He and Yang had that special rapport that always yields beautiful music. A joyful performance start to finish.


----------



## pianississimo

Tomorrow's concert is  at Dewsbury Town Hall It's the Orchestra of Opera North who are playing the following programme...

Brahms Tragic Overture (love love love this. One of my favourite Brahms pieces)
Shostakovich Piano Concerto no.2 (newish discovery. Bought a recording this week which I already like)
Pärt Fratres (Don't know this one at all)
Mozart Symphony No.41, K551 'Jupiter' (Never heard it live. Really can't wait for this as it's such a brilliant piece for the whole orchestra)

Alexandre Bloch Conductor
Ian Buckle Piano

In the highly unlikely event that you're in the area on Saturday, there's a link here to buy tickets at £9 per adult full price.
http://www.operanorth.co.uk/productions/music-festive-grandeur

unfortunately there are plenty left. The OON play there a few times each year despite the small crowds. They're a fantastic orchestra and well worth hearing live.


----------



## PeteW

pianississimo said:


> Tomorrow's concert is  at Dewsbury Town Hall It's the Orchestra of Opera North who are playing the following programme...
> 
> Brahms Tragic Overture (love love love this. One of my favourite Brahms pieces)
> Shostakovich Piano Concerto no.2 (newish discovery. Bought a recording this week which I already like)
> Pärt Fratres (Don't know this one at all)
> Mozart Symphony No.41, K551 'Jupiter' (Never heard it live. Really can't wait for this as it's such a brilliant piece for the whole orchestra)
> 
> Alexandre Bloch Conductor
> Ian Buckle Piano
> 
> In the highly unlikely event that you're in the area on Saturday, there's a link here to buy tickets at £9 per adult full price.
> http://www.operanorth.co.uk/productions/music-festive-grandeur
> 
> unfortunately there are plenty left. The OON play there a few times each year despite the small crowds. They're a fantastic orchestra and well worth hearing live.


For me it would be a bargain for the Shostakovich piano concerto alone. 
Wish I could be there.


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## Albert7

Tonight the Mahler 3rd symphony with the Utah Symphony under the direction of Thierry Fischer. More to come on my listening notes.


----------



## pianississimo

Tomorrow is chamber music day.
The Aurora Ensemble (Wind Quintet) play in 
Ilkley, Yorkshire. http://concertclub.ilkley.org/

Ibert, Trois pièces brèves 
James Macmillan, Untold 
Nielsen, Quintet in A op. 43 
Ligeti, Six Bagatelles
Danzi, Quintet in G minor Op. 56 no. 2 
Walton arr.Mason, Façade Suite

I don't know any of the pieces on the programme. I don't really know any of the composers other than Walton and a little bit of Ibert. Should be fun!


----------



## SixFootScowl

Last night at Hill Auditorium on the University of Michigan campus:
Mendelssohn's Elijah

UMS Choral Union 
Ann Arbor Symphony Orchestra
UMS Choral Union
Jerry Blackstone, conductor
The Elm City Girls' Choir
Rebecca Rosenbaum, music director

Julianna Di Giacomo, soprano
Susan Platts, mezzo-soprano
Nicholas Phan, tenor
Dean Peterson, bass-baritone
Francesco von Bülow, boy soprano

Program

Wonderful concert!


----------



## Pyotr

Again we went to a Friday(January 30) afternoon performance at the Kimmel Center. The show started a little late because it opened with the announcement that the Philadelphia Orchestra has extended the contract of its music director, Yannick Nézet-Séguin, for another seven years. Yannick and the orchestra president came on stage and did a ceremonial signing thing, to everyone’s satisfaction. Yannick was hired in 2012, the year the orchestra filed for bankruptcy. Apparently they are happy with his leadership and the customers certainly are too, including myself. The orchestra has yearly expenses of $50 million, and income of only $17 million. I don’t understand how a company can lose $33 million dollars a year and be happy, but I digress. On to the concert.

Program 
Beethoven - Symphony No. 5
INTERMISSION
Shostakovich - Piano Concerto No. 2 (Kirill Gerstein – Piano)
Shostakovich - Selections from Suite from the film “The Gadfly”


Mixing Shostakovich and Beethoven brings about an interesting juxtaposition, as a local critic pointed out. To the former, evasion was a life-preserving activity under communism, while the latter didn't have an evasive bone in his body. Even when Shostakovich seems to be kidding around, his music hints at something subversive, that the music means much more than it says, and what it says is always dangling out of reach. That's why you want to hear it again.

This wasn’t a concert that I had originally intended on seeing, but with a personal situation cropping up we had to exchange our tickets and this was the only day we had available. That said, I enjoyed the opening number, Beethoven’s 5th, with each orchestral section having a sharply defined sound accentuating the music's sense of impetuous collision. When it was over I was ready for something different and Shostakovich’s Piano Concerto No. 2 certainly fit the bill. 

Nézet-Séguin rolled out “The Gadfly” in a four-movement arrangement (other music directors have used as many as 12). Some have a bias against film music being performed without the film because one doesn't know what plot and visual images the composer is responding to in a medium that is mainly about storytelling. Still, it's outgoing, engaging music, though the deadline pressures of the film industry were apparent in the way each section has a single message - from this master of mixed messages.

This was a concert I really didn’t want to see so my expectations were low, and subsequently exceeded. It’s the old adage: When we expect much, we are frequently disappointed; when we expect little, we are frequently enthralled.


----------



## papsrus

Pyotr said:


> (...)
> 
> Mixing Shostakovich and Beethoven brings about an interesting juxtaposition, as a local critic pointed out. ...


Caught my eye as I'll be seeing the Cleveland Orchestra perform a pair of concerts on successive nights later this month at Miami's Arsht Center that will combine Beethoven and Shostakovich.

First night: 
Beethoven's No. 3
Shostakovich's No. 6

Second night:
Beethoven's No. 5 (as you)
Shostakovich's No. 10

"Fate and Freedom" is the thematic title of the two concerts. From the notes:

"Music Director Franz Welser-Möst takes a fascinating look at two highly autobiographical composers, whose lives and careers were separated by over a century, yet whose works demonstrate how artists of two eras wrestled with themes of freedom, personal and collective liberty, and politics."


----------



## omega

*Debussy*
_Prélude à l'après-midi d'un faune_
Arrangement for flute, clarinet, string quartet and harp

*Cras*
_Trio à cordes_

*Takemitsu*
_Toward the Sea_, for alto flute and harp: 2nd movement _"Moby Dick"_

*Villa-Lobos*
_Quinteto Instrumental_ for flute, violin, viola, cello and harp. 1st movement

*Glazunov*
_Oriental Reverie_ for clarinet and string quartet

*Ravel*
_Introduction and Allegro_ for harp, flute, clarinet and string quartet


----------



## Albert7

Will I survive the Beethoven Violin Concerto with Baiba Skride tonight with the Utah Symphony? I am so hungry..


----------



## nightscape

The Chamber Orchestra of Philadelphia
_Dirk Brossé_, conductor
_Chloé Olivia Moore_, soprano

*Schoenberg*
Verklärte Nacht, Op. 4

*Mahler*
Symphony No. 4 in G major
(Chamber Version arr. Erwin Stein)


----------



## Templeton

Attended The Bridgewater Hall, in Manchester, last night to see the wonderful Hallé Orchestra perform:

Mendelssohn Overture: The Fair Melusine
Mozart Violin Concerto No.5
Beethoven Symphony No.5

Two days ago, the original conductor and soloist dropped out, due to illness, to be replaced by American conductor, James Feddeck, and Norwegian violin soloist, Henning Kraggerud, both of whom turned out to be magnificent.

Feddeck was previously the assistant conductor at the Cleveland Orchestra and is clearly an up and coming star. Kraggerud played with true passion and finesse. The orchestra was, as always, superb and appeared to be really enjoying the occasion.

Well done to all concerned but especially to Messrs Feddeck and Kraggerud for providing such sterling performances, at such short notice. The Mendelssohn, in particular, was particularly fine, I thought. Hopefully, it won't be too long before we see the return of both to the North West.

We took two of our daughters, aged twelve and thirteen, for what was their first experience of a major live orchestra. We weren't sure how they would respond but both were bowled over by the experience, so further visits are, undoubtedly in the offing. Still, with special offers of £3 tickets for children, what's not to like? Must be one of the best deals in the UK.

What a pity that British convention does not permit standing ovations at classical concerts, nor applause, after say, a particularly uplifting solo piece, as both would have been more than merited on this occasion. Bravissimo.


----------



## papsrus

Templeton said:


> (...)
> 
> We took two of our daughters, aged twelve and thirteen, for what was their first experience of a major live orchestra. We weren't sure how they would respond but both were bowled over by the experience, so further visits are, undoubtedly in the offing. Still, with special offers of £3 tickets for children, what's not to like? Must be one of the best deals in the UK.
> (...)


That's fantastic!


----------



## Templeton

papsrus said:


> That's fantastic!


Yes, it really is and a welcome and necessary innovation, I think, judging by the ages of most of the attendees. At age fifty, I felt positively young.


----------



## Vaneyes

Reviews for Pogo, Royal Festival Hall, February 24, 2015.

*Franz Liszt*: Après une lecture de Dante - Fantasia quasi sonata from Années de pèlerinage
*Robert Schumann*: Fantasie in C, Op.17
Interval
*Igor Stravinsky*: 3 Movements from Petrushka transc. for piano
*Johannes Brahms*: 28 Variations on a theme by Paganini for piano, Op.35

http://www.independent.co.uk/arts-e...range-comeback-at-the-southbank-10069205.html

http://www.classicalsource.com/db_control/db_concert_review.php?id=12665

http://www.telegraph.co.uk/culture/...he-piano-seemed-to-have-gone-out-of-tune.html

https://thebflatsheep.wordpress.com...ns-ivo-pogorelich-at-the-royal-festival-hall/

http://bachtrack.com/review-ivo-pogorelich-london-february-2015

http://www.standard.co.uk/goingout/music/ivo-pogorelich-festival-hall--music-review-10068724.html

[url]http://www.theguardian.com/music/2015/feb/25/ivo-pogorelich-royal-festival-hall-london-review
[/URL]


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## Albert7

Andre Watts playing Beethoven's Emperor Concerto in 2 weeks with the Utah Symphony... Hmmm...


----------



## Pyotr

papsrus said:


> Caught my eye as I'll be seeing the Cleveland Orchestra perform a pair of concerts on successive nights later this month at Miami's Arsht Center that will combine Beethoven and Shostakovich.
> 
> First night:
> Beethoven's No. 3
> Shostakovich's No. 6
> 
> Second night:
> Beethoven's No. 5 (as you)
> Shostakovich's No. 10


Is that usual to have two symphonies in one concert? Not that it's that big a deal, but I haven't seen it too often.



papsrus said:


> "Fate and Freedom" is the thematic title of the two concerts. From the notes:
> 
> "Music Director Franz Welser-Möst takes a fascinating look at two highly autobiographical composers, whose lives and careers were separated by over a century, yet whose works demonstrate how artists of two eras wrestled with themes of freedom, personal and collective liberty, and politics."


Interesting spin, although I was always under the impression that the two composers had completely different experiences with their governments.

Unfortunately, I will be arriving in Florida on Sunday and these concerts, I believe, are being performed on Friday and Saturday. 
Have fun.


----------



## papsrus

Only did the Friday night concert and bugged out of Miami to head home for Dresden Philharmonic here in Sarasota Sunday.

Cleveland Orchestra
Beethoven Symphony No. 3 (Eroica)
(intermission)
Shostakovich Symphony No. 6
Arsht Center, Miami

This performance was part of Cleveland Orchestra's winter residency at the Arsht Center, which in itself is an impressive, relatively new concert hall. All sleek, light-toned wood and measured contours inside. A lovely acoustic.

As an added bonus there was a concert prelude before the main event featuring a piano trio performing Beethoven's Piano Trio No. 5 in D major, then a violin quartet playing Quartet for Four Violins, by Grazyna Bacewicz, whom I'd never heard of but seems well worth investigating. Neo-Classical, but with threads of dissonance and colliding lines as well. 

The Cleveland Orchestra's reading of Beethoven's No. 3 was precise and bold from the opening notes, as one would expect. This is my favorite of his symphonies at the moment. All those cross rhythms in the first movement; the way he sometimes stresses the second beat -- almost jazzy. The solemn second movement that shows off the strings. The third movement that features the horns. Pretty damn thrilling and I'd guess a measure of any orchestra's abilities. 

The orchestra and Franz Welzer-Most delivered all the nuances of the Shostakovich No. 6, beginning as it does so delicately and migrating from one instrument to another -- the piccolo, French horn, trumpet, etc. -- before building throughout the piece to a quite a frenzy. This piece really put the orchestra's range on display. Maybe even in a more impressive fashion than the Beethoven.

All in all, a wonderful evening of music and I'm happy to have had the chance to listen Most and his orchestra. 

Arsht Center was about 3/4 full. A season subscriber sitting next to me said that's par for the course. Shame. You'd think the good folks in Miami would have somewhat more enthusiasm for an orchestra the quality of Cleveland. Perhaps the folks in Vienna, where the Cleveland Orchestra also do an annual residency, are more embracing.


----------



## Avey

Last week...

--- *Stephan Jackiw, solo violin* ---

Performed *Ravel's* Tzigane, *Lutoslawksi's *Partita, *Saariaho's *Nocturn in memory of Lutoslawski, and *Franck *Violin Sonata

Had not heard a single piece going into it. Tzigane is out of this world. And Jackiw played Saariaho's nocturne in total darkness, and moved immediately into Franck's Sonata. A little deceptive, not having heard these before.

--- *Eugene Symphony Orchestra* ---

Ballet music from *Mozart's* _Idomeneo_
*Sibelius* _Seventh Symphony_
*Rachmaninov* _Third Piano Concerto_, Garrick Ohlssohn soloist

Admittedly, I went for Sibelius. And the piece was dedicated to an orchestra member that died the past month. Pretty rousing stuff. I had not listened to Sibelius in many months, so obviously, this was a treat to come back and listen to that incessant development and longing -- actually, just dreamy, transcendent sounds.

Also, not a huge fan of Rachmaninov, so nothing for me to ramble on about here. But I will say, Ohlssohn is one of the more subtle, quiet performers I have seen. Not showy at all. Very conservative. Played Rach's Prelude in C# Minor for encore.


----------



## Avey

Last night...

--- *Auryn Quartet* ---

*Haydn*, Op. 64 No. 1
*Brahms*, Op. 51 No. 1
*Dvorak*, Op. 51

First, interesting note: Auryn Quartet was mentored by the Amadeus Quartet back in the day. Amadeus quartet lasted 39 years together. Auryn Quartet is at 34. Quite the mileage, and I had never heard of them until seeing them last night. In Corvallis, Oregon. Of all places.

Crowd was quite small, considering the large auditorium, but the university had a gymnastics competition and baseball game going on a few blocks away. So, you know, classical is not going to draw the crowd then.

Nonetheless, solid performance. Auryn Quartet may be the quietest performers I have ever seen. Every note was played subtly. No extravagance or flare, which is not necessarily bad, since we don't need quartet players to be in constant motion and sway. But when the music was played that quietly -- just very, very calm and reserved playing -- I felt myself asking for a little more physical emotion.

Oh, despite the dynamic issue, obviously, the pieces were played impeccably. But duh. Great order, too. The development from Haydn through Brahms to Dvorak was fun to note -- like, you rarely pick up on the technical and thematic distinctions between eras unless you listen to stuff back-to-back.

And encore was *Haydn *Op. 64, No. 5 finale. Yes, the fast one.


----------



## Avey

(AM I CLOGGING THIS THREAD?!)

--- Calder Quartet ---

*Ades*, _Arcadiana_
*Janacek*, _Quartet No. 2 "Intimate Letters"_
*Beethoven*, _Op. 131_

First, with the latter: It was great; it is profound. Typical stuff.

Janacek - not a _huge_ fan, but great quartet. I thought the *Calder* played several sections a bit fast, very rushed. But, admittedly, I am not looking at the score here. So, did Leos write _fortissimo_ here, or something like that -- I don't know. But compared to the recordings I have, was a bit fast. Though, it is always good to change the interpretation. Obviously.

Finally, *Ades*, the _Arcadiana_. Anyone familiar with this work? I did not feel anything spectacular or necessarily moving at first. But then the "O Albion" movement....

Given the previous movements -- all arrhythmic and intense -- when these solemn notes play, um, gosh I don't know -- JUST LISTEN TO THE PIECE.


----------



## Albert7

albertfallickwang said:


> Andre Watts playing Beethoven's Emperor Concerto in 2 weeks with the Utah Symphony... Hmmm...


Looks like I'm not going. But not worried honestly.


----------



## papsrus

Dresden Philharmonic
Michael Sanderling, conductor
with Johannes Moser (cello)

Tchaikovsky -- Variations on a Rococo Theme Op. 33
John Williams -- Suite from Memoirs of a Geisha 
(intermission)
Beethoven -- Symphony No. 7

Van Wezel Performing Arts Hall

Great concert by this semi-nomadic orchestra -- their normal concert hall in Dresden is being renovated, and according to their web page they're playing at a half dozen venues around Dresden during the renovation, and touring. A quick glance at the list of musicians in the orchestra on their web page indicates that this was a smaller ensemble than is usual for them -- perhaps 60 musicians, mostly strings, light on the brass and woodwinds. The touring band, I presume. 

I've judged the old Van Wezel a little too harshly in the past, perhaps. I was up near the back, center, and the orchestra sounded quite full and strong, especially the strings, even at this reduced size. 

Moser was excellent, playing with flair and fireworks in the Tchaikovsky. The Williams was interesting; an Asian-flavored piece played by a German orchestra. While exotic and playful, it didn't really grab me. The Beethoven No. 7 was very enjoyable. They took things at a pretty good clip and I sensed the orchestra gave more than a perfunctory reading, as you might sometimes get with a touring band. The standing ovation at the end was sincere and well deserved.

I found it kind of hilarious that they did the finale to the William Tell Overture as an encore, sending the audience off to the parking lot ready to lay rubber. (Even funnier, I passed one elderly woman with a walker who said, "That's my theme song, you know.") -- German humor maybe?

Anyways, a fine time was had by all and the orchestra sounded wonderful. The hall sounded warm and full. I'm reassessing my previous dour view of the place; perhaps it's the hometown orchestra that is somewhat lacking?


----------



## omega

Sinfonieorchester Basel | Stanisław Skrowaczewski

*Mozart*
_Symphonie No.34_

A lovely symphony!

*Bruckner*
_Symphonie No.4 "Die Romantische"_

A great interpreation by the 91-year-old (!) conductor. He chose to make some very relevant tempo changes which gave movement to this quite rigidly-constructed symphony. The final coda was superb...
Thank you, maestro, for this exciting evening.


----------



## Pugg

*Tonight:*

*Rotterdams Philharmonisch* - Belohlávek en de Tsjechen

Aanvang
20.15 uur
Zaal
Grote Zaal

*Mozart* - Pianoconcert nr.23
*Martinu* - Dubbelconcert voor twee strijkorkesten, piano en pauken
*Dvorák *- Symfonische variaties
Uitvoerendenopenen/sluiten
Rotterdams Philharmonisch Orkest
o.l.v. Jirí Belohlávek
m.m.v. Lise de la Salle piano


----------



## ptr

omega said:


> A great interpreation by the 91-year-old (!) conductor. He chose to make some very relevant tempo changes which gave movement to this quite rigidly-constructed symphony. The final coda was superb...
> Thank you, maestro, for this exciting evening.


I've heard Skrowaczewski conduct Bruckner three times over the last few years and it has been the best Bruckner I've heard live! He is that master!

/ptr


----------



## MoonlightSonata

Freddy Kempf playing and conducting Beethoven - the Egmont overture and PCs 3 and 5 - with the NZSO

Wow! He really is amazing. Not only are his playing and conducting both sublime, he seems to be able to change between them almost instantly in the concerti. I'd never heard the third concerto before, and I loved it.


----------



## tdc

I went to an Ana Vidovic guitar recital yesterday and it was very good. I really enjoyed her playing and selection of repertoire, this girl is a great performer and not just a pretty face. 

Program:

Sor: Introduction and Variations on a Theme by Mozart
Torroba: Sonatina
Barrios Mangore: Una Limosna por el Amor de Dios
Albeniz: Granada, Asturias

Intermission

J.S. Bach: BWV 998
Takemitsu/Beatles: Yesterday
Barrios Mangore: La Catedral
Lauro: El Marabino, Vals Venezolano No's 2 and 3

She also came out for an encore and performed Tarrega's Recuerdos de la Alhambra


----------



## senza sordino

Last night I went to see the Vancouver Symphony perform

Wagner Lohengrin Prelude to Act III
Prokofiev Lieutenant Kijé
Bruch Violin Concerto no 1
Schumann Symphony no 3, Rhenish

A good concert. Though the Prokofiev was out of place, Russian music between all that German music. 

The soloist for the Bruch was Timothy Chooi, a local boy from Victoria. He played well, good intonation, good projection of sound, but nothing special. A bit like hearing someone's exam recital, good but mechanical. Perhaps I'm too critical because I know the piece inside and out. 

I thought during the Prokofiev the trumpet player came in one bar early, but he saved himself well by continuing to play, then after one bar he played the right notes, rather than one awful out of place blast from the trumpet. 

The Schumann was great, and it's my favourite music of his.


----------



## pianississimo

Piano trios by Shostakovich, Bridge and Debussy tonight in Ilkley. 
Can't wait!


----------



## pianississimo

The Debussy was an arrangement of La Mer for piano trio. Strange but surprisingly good!


----------



## Templeton

I attended the Royal Liverpool Philharmonic Orchestra's 175th anniversary concert, last night, in Liverpool. The conductor was Vassily Petrenko.

They opened with a short piece from Rossini, which had been played on that first evening in 1840. Not sure of its title but it was very enjoyable.

Next up was Mendelssohn’s Die erste Walpurgisnacht, also, I believe, from one of the very early performances. I am not a great lover of choral music but, to my untrained ear, the performance appeared to be excellent.

Finally, the main event of the evening was Beethoven's incredible Ninth Symphony, the performance of which was as good as any that I have heard previously. The second and third movements, in particular, I thought were stunning, the third actually bringing a lump to my throat, which surprised me, no end.

The finale brought a standing ovation, which was undoubtedly well deserved and one that I welcomed, as a reflection of the passion and effort that everybody concerned had put into the occasion.

The entire concert was broadcast simultaneously on the UK radio station, Classic FM, so it may be available online. Well worth making the effort to track down, imho.


----------



## Pugg

*Tonight *:

*Rotterdams Philharmonisc*h - *Tsjaikovski en Dvorák 9*

Datum
vrijdag 13 maart 2015
Aanvang
20.15 uur

Prokofjev - Suite 'De liefde tot de drie sinaasappels'
Tsjaikovski - Vioolconcert
Dvorák - Symfonie nr.9 'Uit de Nieuwe Wereld'
Uitvoerendenopenen/sluiten
Rotterdams Philharmonisch Orkest
o.l.v. Jirí Belohlávek - dirigent
m.m.v. Ray Chen viool


----------



## manyene

Following on from the RLPO concert last night that Templeton and I attended, another attractive concert next Wednesday at the Philharmonic Hall:

Grieg: Peer Gynt Suite no. 1
Sibelius: Violin Concerto (soloist Augustin Hadelich - he looks about 16 years old in the concert brochure!)
Tchaikovsky: Symphony 6

Conductor: Vasily Petrenko

Some speculation on the Internet as to whether he will be deploying the orchestra with divided violins to left and right as he did for a recent Tchaikovsky concert - this layout is essential if the effect of the shared melody between the strings at the opening of the finale is to be heard. Last night he reverted to the usual violins to the left and cellos the right of the conductor as seen from the audience.


----------



## Templeton

Attended the concert, referred to by Manyene (above) but on the 19th, whereas he attended the performance on the 18th.

I thought that the Peer Gynt Suite was performed beautifully and was pleasantly surprised by the enthusiasm of the orchestra, for what I thought might have become a more perfunctory piece for many of them. 

The Sibelius Violin Concerto was, for me, the highlight of the evening, particularly since I hadn't previously heard it. Augustin Hadelich was an absolute joy to hear and watch, playing with real passion and sensitivity for what was a beautiful piece. He did an encore of Paganini’s Caprice No 5 and you could see that even the orchestra was enthralled by it.

The Tchaikovsky was a little mixed, I thought. Most of it was wonderful, thanks to the enthusiasm of conductor Petrenko and several orchestra members (particularly honourable mention for lead violinist, Miranda Playfair, who provided a wonderfully sensual and sensitive performance, as well as the double bassists, who don't always receive the credit that they deserve), who were clearly giving it all. However, I felt that some members of the orchestra gave the impression of not really wanting to be there and were just going along with things, for the sake of it. Maybe I'm being unfair but there were times when it seemed that Petrenko was drawing upon all of his reserves to motivate some of his players and at the end, I thought that he appeared frustrated and annoyed, quite a contrast from the previous week.

It's been a busy week for the RLPO, so maybe some members were tired or maybe I got it all wrong and it was, in fact, a great performance and my lack of expertise on the subject has found me out. If anybody else attended last night, I would love to hear their views. 

I have to say again, however, that Vasily Petrenko is a phenomenon and we, in Liverpool, are incredibly lucky to have him. If he doesn't end up in Berlin, Vienna or Amsterdam, then there is either no justice in the world or we are in for a glut of superior conductors, over the next few years.


----------



## Pugg

*Tonight :*

*Rotterdams Philharmonisch* - 
Datum
vrijdag 20 maart 2015
Aanvang
20.15 uur

*Schumann* - Symfonie nr.2
*Beethoven* - Symfonie nr.3 'Eroica'
Uitvoerendenopenen/sluiten
Rotterdams Philharmonisch Orkest
o.l.v. Philippe Herreweghe - dirigent


----------



## manyene

Another attempt at doing this post after the last one disappeared into the ether before transmission.

Just to add one or two details to Templeton's detailed report on last night's concert in Liverpool. Despite a reference in the programme notes about the use of split violins (firsts on the left, seconds on the right of the conductor) and use of this layout for the Tchaikovsky Fourth Symphony a couple of weeks before the orchestra had all the violins together and the stereophonic effect at the beginning of the finale was lost. A pity.

On Wednesday night Petrenko had a long pause, appropriately I think after the turmoil of the first movement, before launching into the Waltz, though in contrast he decided to take no risks and launched straight into the finale after the March had finished.

I have heard the Sibelius three times at the Phil now; it is one of my favourite works. But this was certainly the best performance I have heard of it, technically immaculate and real poetry in the slow movement. A soloist to look out for.


----------



## Oliver

Yesterday evening heard The Hallé orchestra at the Bridgewater Hall in Manchester playing Shostakovich's Cello Concerto 2 and Mahler's 5th Symphony, conducted by Sir Mark Elder. It was excellent. It would have been even better if I wasn't sat behind a woman who liked to make long drawn-out vocal coughs.


----------



## manyene

Oliver,

That seems to be a particular problem at local concerts. And people always seem to cough either in slow movements or in quiet passages - we had a barrage of coughs during the middle movement of the Sibelius Concerto at the Philharmonic Hall on Wednesday. The Phil's management usually put out a basket of cough sweets in the bar area upstairs, but clearly not everyone avails themselves.


----------



## Albert7

Saw Cosi fan tutte on my daughter's b-day for the Utah Opera. It was all right... the opera production was too lighthearted for me... too much slapstick.

However, the singing was marvelous as usual . A1 sauce Mozart opera.

Still prefer the Haneke version on DVD.


----------



## papsrus

Verdi Concert -- Sarasota Opera Orchestra, soloists and chorus

The Sarasota Opera has, since 1989, been putting on at least one Verdi opera each season with the intent of performing the complete cycle. (This year it's Don Carlos, Paris version). They will finish the cycle next year.

As part of this obsession, the opera orchestra puts on a Verdi concert during the opera season. This year's concert featured the orchestra performing music from "Jerusalem," "Nabucco," "Un ball in maschera" and "Otello," followed by an intermission and more Verdi. Unfortunately I couldn't stay for the second half of the concert as I was playing hookie from work and had to return. (Fortunately for me, the opera house is three blocks from work).

Had a seat in the fourth row, dead center. First time I've not been in the balcony at the old opera house and while the singers certainly hit you full blast from that close range, and the orchestra sounded great, I think in the balcony you get a better overall balance. Nonetheless, a beautiful performance.

From my low perch I'd gauge the quality of singers we get for the main roles as pretty high. Not top level but certainly experienced, fully capable of wowing the audience and fully invested in the performances they give. Experienced. And most of those on stage last night were from those main roles, so excellent singers.

It's entertaining watching them take on the personas of the characters they're singing, even though in a concert setting they're just on stage, not in costume, standing in front of the orchestra. They get into it. 

The orchestra -- which was set up in a divided configuration that had violins split on each side, then the violas split on each side sitting behind the violins, and the cellos in the middle -- began alone for the variations and other pieces from "Jerusalem." 

Soprano Kara Shay Thompson was excellent in performing an aria from Act II of "Nabucco." All lungs and actually had my ear drums fluttering on a couple of the high notes. Lots of power here.

In her aria from "Un ballo in maschera," soprano Michelle Johnson was somewhat less captivating than Thompson before her. Baritone Sean Anderson took his turn on another piece from "Un ballo," and was by comparison much more dynamic and imposing. Impressive.

The highlight of the evening for me were the pieces from "Otello." A beautiful, intertwining duet featuring tenor Rafael Davila and soprano Maria Antunez was simply mesmerizing. That was followed by eight soloists spanning the front of the stage with full chorus behind the orchestra performing the "Act III Finale written for Paris" to punctuate the first half of the concert with a fitting crescendo.

Disappointed I couldn't stay for the second half, but was quite happy to have enjoyed the first half.


----------



## Zarathustra

Last Sunday I went to a showing by the local conservatory. A recorder consort composed by the teacher, two students and a harpist. Thay played medieval and renaissance music. Very soothing. As I came out a religious procession was passing by accompanied by a band playing funeral songs. Later in the evening at the cathedral the local orchestra and university choir played Bach's St Matthew's Passion. A very musical Sunday and all for free.


----------



## Oliver

I've unfortunately been unable to find any performances of the St Matthew Passion in Manchester or Cambridge this Easter. I am definitely hearing going to Gardiner's performance next year though, nothing will stop me.


----------



## CyrilWashbrook

I went to the Melbourne Symphony Orchestra's performance of Mahler 3 last night. It was very good. The third is probably my favourite of Mahler's symphonies and it was nice to get the chance to hear it live. (I'm still relatively new to concert-going except for the concerts in which I play!)

Next up is the Inextinguishable in two weeks, which I'm _extremely_ excited about.


----------



## Guest

Piano recital, Jonathan Biss last night.

Six Little Piano Pieces Op19, Schoenberg
Piano Sonata Op1, Berg
Waldszenen Op82, Schumann
Piano Sonata in G Op79, Sonata in F Minor Op57, Beethoven

(encore Arabesque in C major Op18, Schumann)

A very enjoyable evening! Front row seat, about 10 feet from Mr Biss!


----------



## Pugg

Tonight:

*Rotterdams Philharmonisch - Matthäus-Passion*

Datum
donderdag 2 april 2015
Aanvang
19.30 uur

*Bach - Matthäus-Passion*

Rotterdams Philharmonisch Orkest
o.l.v. *Jan Willem de Vriend* - dirigent

m.m.v. Werner Güra tenor (Evangelist)
Florian Boesch bas (Christus)
Johannette Zomer sopraan
Birgit Remmert alt
Stephan Rügamer tenor
Thomas Oliemans bas
Cappella Amsterdam
Nationaal Jongenskoor


----------



## perempe

----------------------------------------------------


----------



## papsrus

La Musica Festival, Sarasota Opera House

Mozart -- String Quintet in B flat major
Claudio Cruz (violin), Federico Agostini (violin), Bruno Giuranna (viola), Daniel Avshalomov (viola), Julie Albers (cello)

Biilk -- String Quartet in Modus Lascivus (world premier)
Frederico Agostini (violin), Jennifer Frautschi (violin), Daniel Avshalomov (viola), Dmitri Atapine (cello)

Schumann -- Piano Quartet in E flat Major, Op.47
Jennifer Frautschi (violin), Bruno Giuranna (violin), Antonio Meneses (cello), Derek Han (piano)

Outstanding. The festival attracts some really good musicians while trying to incorporate some local flavor. For this concert that local flavor was provided by the world premier piece by Biilk, who relocated to the area fairly recently. Don't know much about him other than he had some association with the University of Michigan and had composed both orchestral and marching band music as well as some film/television scores. 

The Mozart was played beautifully. It's Mozart, and a piece that is characterized as marking some musical maturity for him, although still a teenager, and some independence as a composer. 

The Schumann was my favorite -- beautiful melodies and interplay among the piano and strings, especially the third movement tinged with sadness but so damn gorgeous. Really breathtaking.

The Biilk, given his background, felt cinematic and modern. Very well put together with musical ideas that were clear and developed in a way that was straightforward. It was the first time he had heard the piece performed before an audience, and you could see he was thrilled as he took a bow with the musicians afterward. Very nice.

We sat in the upper balcony, forward, as is my usual preference. Very good sound and attentive audience. Although the orchestra level was mostly full, there was nobody in the balcony behind the first three rows. On the one hand, this affords great comfort and undisturbed listening. On the other hand I would have been happier had the balcony been full. The musicians, nonetheless, gave it their all and played wonderfully throughout. 

A very fine concert. Going again Sunday afternoon. If circumstances permit, I may take in a few rehearsals as well.


----------



## Guest

National Youth Orchestra of Great Britain.

How big is this orchestra!!! 160+

The main work was Bartok's Concerto for Orchestra; a minor landmark for me - the first work I've seen performed that I've got on CD, and so already familiar with.

PS currently on in concert on BBC Radio 3 - Grainger, Chin, Bartok.


----------



## Haydn man

This evening in Manchester
RPO with Koenig conducting and Pinchas Zukerman as soloist
Beethoven Coriolan Overture
Pastoral Symphony
Elgar Violin Concerto
A wonderful concert with 2 of my wife's favourite pieces to boot. She has come home a happy lady


----------



## Templeton

Haydn man said:


> This evening in Manchester
> RPO with Koenig conducting and Pinchas Zukerman as soloist
> Beethoven Coriolan Overture
> Pastoral Symphony
> Elgar Violin Concerto
> A wonderful concert with 2 of my wife's favourite pieces to boot. She has come home a happy lady


Wow, completely missed this one. Absolutely gutted. Where was the performance held? I find it really difficult to find one place, where it is possible to keep track of upcoming concerts in the North West, so if you or anybody else is aware of one, please let me know.

Glad that you had a good time but very jealous.


----------



## Zarathustra

Haydn man said:


> This evening in Manchester
> RPO with Koenig conducting and Pinchas Zukerman as soloist
> Beethoven Coriolan Overture
> Pastoral Symphony
> Elgar Violin Concerto
> A wonderful concert with 2 of my wife's favourite pieces to boot. She has come home a happy lady


I once took my grandmother to see a concert conducted by König. She kept commenting on how young the maestro was. Apparently it was what she noticed more that day but the performance itself was not half bad either.


----------



## Zarathustra

Last night I went to see the local orchestra play some Brahms.

Concerto for Violin and Cello
Violin Juliana Sousa
Cello Raquel Andrade

Symphony nº2
Orquestra Filarmonia das Beiras
Maestro Ernst Schelle

A lovely performance. I was smilling the whole duration of the concert. If you had asked me three months ago I would have told you that Brahms 2nd was my least favourite by him by a mile. However these past 2 months it's the symphony that I have been listening to the most. So when in conversation with the 1st violin he told me that they would be playing this, I knew I couldn't miss it. Came back home buzzing.


----------



## CyrilWashbrook

Just returned from this concert presented by the Melbourne Symphony Orchestra:

Ives: Three Places in New England
Bruch: Violin Concerto No. 1
Nielsen: Symphony No. 4

Thoughts:

(1) The Ives was new to me. That being the case, I don't have much to report beyond the fact that I enjoyed it, especially the middle movement, and it provided a nice contrast to the other works in the programme.

(2) The Bruch was okay. The soloist was Sarah Chang, whom I hadn't seen or heard play before, either live or in a recording. I didn't find the interpretation entirely convincing. At times, it felt as though she was straining to put a flamboyant spin on the work (augmented by her frequent dancing back and forth on stage), when something closer to an "objective" approach might have been more effective. Vibrato, especially in the first movement, felt overdone and relentlessly fast. The tone sometimes came across as a little harsh, which is a bit of an achievement given that - at least from the balcony - this particular concert hall has a tendency to produce slightly muffled warmth from the strings rather than brightness.

(3) The Nielsen was excellent. It's one of my absolute favourite works and this was the first time I heard it live. I'd abstained from listening to it since the start of the year in anticipation of this night, and the orchestra didn't disappoint. There was the occasional ever-so-slightly out-of-sync entry, but that's quibbling. It was very well-executed and the tempo choices were spot on.

It was the Inextinguishable that I really wanted to see, so for that reason alone it was a fantastic concert. The audience was generally well-behaved, with the notable exception of some idiot whose phone inconveniently rang out in the lull before the main timpani duel in the final movement.


----------



## Templeton

Templeton said:


> Where was the performance held?


Don't worry, found it; Bridgewater Hall. I realise that my present settings seem to be just for the The Hallé, which is why I missed it. Still very disappointed at missing the concert but now I know and it has brought to my attention a very interesting looking Mozart concert, later this year, so some good has come of it.


----------



## Haydn man

Templeton said:


> Don't worry, found it; Bridgewater Hall. I realise that my present settings seem to be just for the The Hallé, which is why I missed it. Still very disappointed at missing the concert but now I know and it has brought to my attention a very interesting looking Mozart concert, later this year, so some good has come of it.


Sorry, have only just come across your question
I have no simple answer but just look at the Liverpool Phil and Bridgewater Hall websites


----------



## Dave Whitmore

I went to the city today to hear the Greenwich Village Orchestra perform music from Tchaikovsky. They played his Coronation March, his Violin Concerto and his 4th Symphony. A nice variety of music and it was played very well. This is my third time going to hear the GVO. They are definitely worth a visit. One slightly comical note...for some reason during the 4th Symphony a small group of people somewhere to my left insisted on applauding at the end of each movement. It just came from one small section. The rest of the audience remained silent until the end of the symphony. It kind of made me think of a thread on that subject that was very active on this site a while ago. And the great thing is apart from the odd cough there were no real disturbances. No cell phones ringing and no footsteps in the back or doors slamming that plagued me during a performance of Beethoven's Violin Concerto. 

The solo violinist was Siwoo Kim. You could tell he was really enjoying himself playing the concerto. His performance made the whole thing even more enjoyable.


----------



## papsrus

La Musica Festival -- Sarasota Opera House

Brahms, Horn Trio in E flat major, Op. 4
Eric Ruske, Jennifer Frautschi, Derek Han

Villa-Lobos, Trio for Violin, Cello, Piano No.1
Claudio Cruz, Antonio Meneses, Derek Han

Murphy, Piano Trio No.1, "Emotions" * WORLD PREMIERE *
Federico Agostini, Julie Albers, Derek Han

Brahms, String Sextet in G Major, Op. 36
Federico Agostini, Jennifer Frautschi, Bruno Giuranna, Rebecca Albers, Dmitri Atapine, Julie Albers

Bit of a mixed bag today. The Brahms horn trio that kicked things off was a bit thin, I thought. Disjointed maybe -- it's probably me, but there was something about the separateness of sounds of the three instruments (piano, violin, horn) that didn't quite come together for me. No flow. Nicely played and all, just ... not quite there.

The Villa-Lobos, who I had no familiarity with at all (Brazilian), was very good -- with beautiful, vibrant, flowing themes, haunting at times, lush piano darting here and there and everywhere. A lot of energy here. Enjoyed this one. Here's a YouTube link to another performance of the piece.

The third slot in the program was a composition by a young student from the area -- college-aged perhaps, but just barely, I think. And while pleasant enough, it was what you'd expect from a young student. Not a mature piece, let's just say. But kudos to him for putting himself out there and on the whole it was a worthy stepping stone in a young musical career -- something anyone can be envious of. I'm sure it was a thrill for him as he took a bow with the beaming musicians.

The best, by far, was saved for last. The Brahms string sextet was a truly elevated performance. You can sense almost instinctively when a performance -- the musicians, the audience, everything -- seems to come together in the moment and transports everyone involved to another level. This was that. The sound of the string sextet fully enveloped the house -- compared for instance to the first horn trio piece that opened the concert, which was thin in tone and almost hesitant or "by the numbers." This Brahms sextet was instead lush, flowing, the musicians fully engaged, in sync, the audience pretty much rapt. Certainly made up for the unevenness of the rest of the concert, and more.

All in all, a great afternoon of music.

A minor annoyance: Some dude arrived halfway through the first piece with two women in tow and they plopped themselves down a couple of rows in front of me and immediately started whispering back and forth, snapping open mint containers, giggling and chuckling away. The guy in front of me finally leaned forward and told them to "knock it off." They shut up from then on, but seriously -- arrive late, which is disruptive enough but OK, then talk and giggle through the music? I think they might have been there for the student's "world premier" cause they gave that number a standing ovation. In the end, no biggie.


----------



## Albert7

Tonight's concert was pretty awesome despite the fact that Piano Concerto No. 21 became more like Piano and 2 Cell Phones Concerto No. 21 during the first movement.

Jupiter Symphony (41) was brisk and moved along well under Goodwin's direction. Perhaps I should have had some beer before the concert.


----------



## Templeton

I attended Bridgewater Hall, Manchester, on 16th April, to see Sir Mark Elder, conducting the Hallé Orchestra, in the following programme:

Brahms: Academic Festival Overture 
Tarik O’Regan: A Celestial Map of the Sky: 1515 
Holst: The Planets 

Ladies of the Hallé Choir | Hallé Youth Choir | Manchester Grammar School Choir 

The Orchestra performed to its usual high level, with a particularly fine rendition of The Planets, including an off-stage finale from the choir, which was particularly lovely.

The Tarik O'Regan piece was a specially commissioned piece, to commemorate the five hundredth anniversary of Manchester Grammar School. It was also its world premiere. It wasn't my cup of tea but it was well performed by all concerned.

Although the Grammar School's involvement probably accounts for the large number of young people in the audience, it made a pleasant change to see a younger demographic present; hopefully some of them will have been encouraged to return by what they saw and heard. 

I was accompanied by my youngest daughter, who is twelve, and she really enjoyed the evening. She is now very keen to attend further classical concerts, so I will attempting to indulge her further, over the coming years. Next stop, for her, Liverpool, in May, and Beethoven's 7th!


----------



## Guest

Alessandro Taverna
Piano recital, Holmes Chapel.

Beethoven 15 Variations and a Fugue in E flat major
Chopin Scherzo no 4
Debussy L'Isle Joyeuse
Scriabin Piano Sonata no 10
Rachmaninov Preludes nos. 7,8,4,2
Liszt Tarantella di Bravura

A very good programme. I enjoyed the Scriabin the most, I think. And the Beethoven the least...


----------



## Pugg

Tonight 21-04-2015 going to Amsterdam seeing:

*Joyce DiDonato* (mezzosopraan)
*New York Philharmonic
Alan Gilbert* (dirigent)

Programme
Salonen - Nyx
Ravel - Sheherazade
Ravel - Valses nobles et sentimentales
R. Strauss - Suite uit 'Der Rosenkavalier', op. 59


----------



## jflatter

Last night I saw the Staatskapelle Berlin conducted by Daniel Barenboim. The concert started with Martha Argerich as the soloist in Beethoven's 1st Piano Concerto. This was the first time I have heard Argerich live and she was truly wonderful. The second movement in particular was something I will remember for a long time. Barenboim and the orchestra accompanied her superbly and it was a performance of the highest order.

The encore was also special as Barenboim joined Argerich at the piano and they played Schubert’s Rondo in A Major. This was playing of the highest order and a total treat for the audience.

In the second half of the concert Barenboim returned to conduct Ein Heldenleben. This was played very well on the whole other than a minor brass blip early on. The strings of the Staatskapelle were warm and the leader of the orchestra played superbly during the violin solo passages of the work. That said, it could not reach the heights of the first half of the concert. 

Overall though it was a truly wonderful concert.


----------



## Eramirez156

Tonight's concert at Symphony Center was Bruckner symphony no.9, Semyon Bychkov conducting the Chicago Symphony Orchestra. Can never get too much Bruckner.


----------



## Lunasong

I attended a concert Friday night which included a performance of an amazing piece by Russian composer Sofia Gudbaidulina called Stimmen...Verstummen...(usually translated as Voices...Silence...). The piece required an unusual staging of the orchestra. The basses were in front and split on either side, the violins were inverted, the horns were split to either side of the stage, the percussion were set up in five different areas. No one was sitting in their usual spot. The piece consists of 12 movements of varying lengths, one of which is the conductor gesturing alone to silence. The composer's notes: 
_I constructed this silence, a stillness of about forty seconds, so that the conductor's gestures actually give rhythm to the empty space. I set out to order the entire form of the piece according to the rhythms laid down by the conductor during the silence._​The piece is based on mathematics, and the composer's movements are determined by the Fibonacci sequence; a sequence which in the composer's words "governs all the workings of nature." 
There were many unusual sounds created during this piece that I could not figure out how they were made.

Interval required a major reset of the stage for the featured piece on the concert: Rachmaninov's Piano Concerto No. 2 with Valentina Lisitsa as soloist.


----------



## TurnaboutVox

BBC Maida Vale studios, London, Saturday 25th April

*Rachmaninov
All-Night Vigil, Op 37 ("Vespers")*
BBC Symphony Chorus, Stephen Jackson, Conductor



> "Rachmaninov's famous setting of the Russian Orthodox All-Night Vigil ceremony is now considered his finest unaccompanied choral work. The piece, often referred to as the Rachmaninov 'Vespers', was composed and premiered in Russia at the beginning of 1915.
> 
> Recorded for broadcast on BBC Radio 3"


 (in July, we were told).

We attended this specifically because our daughter's flatmate is a member of the chorus. It was quite stunning - I'd heard of, but never heard this work before. I'm told that it has been performed rarely because it is so difficult to perform, and for a performance in the UK a linguistic coach was required to help the chorus with the pronunciation of the Old (or Church) Slavonic it's written in - the liturgical language of the Russian Orthodox church. The chorus was absolutely top-notch.


----------



## perempe

Dave Whitmore said:


> I went to the city today to hear the Greenwich Village Orchestra perform music from Tchaikovsky. They played his Coronation March, his Violin Concerto and his 4th Symphony. A nice variety of music and it was played very well. This is my third time going to hear the GVO. They are definitely worth a visit. One slightly comical note...for some reason during the 4th Symphony a small group of people somewhere to my left insisted on applauding at the end of each movement. It just came from one small section. The rest of the audience remained silent until the end of the symphony. It kind of made me think of a thread on that subject that was very active on this site a while ago. And the great thing is apart from the odd cough there were no real disturbances. No cell phones ringing and no footsteps in the back or doors slamming that plagued me during a performance of Beethoven's Violin Concerto.
> 
> The solo violinist was Siwoo Kim. You could tell he was really enjoying himself playing the concerto. His performance made the whole thing even more enjoyable.


Tchaikovsky concert again. yesterday I attended the performance of Swan Lake. the dancers were great, but the music was boring. (I blame the conductor.)

today's concert in Miskolc was much better. Romeo and Juliet fantasy overture, Violin concerto and 5th symphony. I liked all, but Tamsin Waley-Cohen stole the show. Tamás Vásáry was the conductor. (I love him because he gave us a large encore after Beethoven's 7th with The Bat overture and two versions of Hungarian dance no. 5 in the opera house in January.)


----------



## senza sordino

last night here in Vancouver Yo Yo Ma and the VSO with Bramwell Tovey.

They started with *Dvorak Slavonic dance no 2, Op 72*, nicely played. I usually sit down below in the so called orchestra seating row 10, but last night I was above on the upper level looking down. Normally I can't see the brass behind, but now I could and the sound experience was quite different. It took a while to get used to the new sounds more balanced by the entire orchestra, rather than dominated by first violins and cello in front.

Then someone sneaked into the cello section to play *Dvorak Symphony No 8*. It was Yo Yo Ma who played at the rear of the cello section relegated to page turning as well. A fantastic symphony. Loved it.

The second half was a living legend Yo Yo Ma playing the greatest of all cello concerti *Dvorak Cello Concerto in B minor*. He was sublime to watch, so into the music. You could tell he had played it all of his life. And that ending brought tears to my eyes, the most glorious sound, such complete bow control and patience to bring out that wonderful B major ending.

He played an encore, a nice piece, I didn't know. Slow and sweet.

The house was packed to the rafters.


----------



## Radames

Shostakovitch 11th Symphony in Montreal last night. 8 or 9 people walked out 20-30 minutes into it.


----------



## pianississimo

Saturday night is a virtually sold out concert in Leeds. The final concert of their season.

Schubert Symphony 3, Beethoven Symphony 9.

Warsaw Philharmonic Orchestra, Leeds Festival Chorus & Leeds Philharmonic Chorus. Conducted by Jacek Kaspszyk
Soloists are :-
Claire Meghnagi	soprano
Hannah Pedley	mezzo soprano
Andrew Rees	tenor
Paul Carey Jones	baritone


Should be amazing!


----------



## pianississimo

Radames said:


> Shostakovitch 11th Symphony in Montreal last night. 8 or 9 people walked out 20-30 minutes into it.


 was it that bad?


----------



## Radames

No. It's just that it's not to everyone's' taste I guess. Pretty grim stuff.


----------



## pianississimo

I guess people need to do some research before going to concerts!! 
Probably Strauss fans


----------



## Radames

pianississimo said:


> I guess people need to do some research before going to concerts!!
> Probably Strauss fans


Last week a few people walked out on the Nielsen 4th too. It was a great concert - one of my best of the season I think. I was 5th row - rush ticket $40 - and was close enough to hear the stereo effect on the finale timpani battle. The conductor - John Storgårds - really worked up a sweat.


----------



## Skilmarilion

I saw a very solid performance by an amateur London orchestra a couple of weeks back:

*Mussorgsky* - _Khovanchina_, Overture

*Bartok* - Viola Concerto

*Elgar / Payne* - Symphony No. 3

Lev Parikian, cond.
Emmanuella Reiter, Viola

I hadn't heard any of these works before, but really enjoyed the Mussorgsky and Elgar -- the latter is quite profound, and is an incredible achievement by Anthony Payne.


----------



## Templeton

I was back in Liverpool, on Thursday 7th May, for the following performance by the Royal Liverpool Philharmonic Orchestra:

Graham Fitkin Intimate Curve
(World Premiere Liverpool Philharmonic 175th Anniversary Commission)
Tchaikovsky Violin Concerto
Beethoven Symphony No.7

Dima Slobodeniouk conductor
Alina Ibragimova violin

The Fitkin piece was a very pleasant surprise, to my ears, both classical and modern, at the same time and combining extremely well. I am not usually a great fan of modern classical but this pushed all my buttons and I will certainly be purchasing the first official recording. Mr Slobodeniouk and the orchestra certainly appeared to be enjoying themselves, which I am always happy to see.

Alina Ibragimova then provided us with a beautiful and sensitive performance of the Tchaikovsky Violin Concerto. It's always a joy to see any musician, who is lost in their performance and her bashfulness at the well deserved ovation that greeted her conclusion of the piece was especially endearing. She did an encore of Eugène Ysaÿe's Third Sonata(?); not sure but this is what it says elsewhere.

After the interval, a performance of my favourite symphony of all, Beethoven's 7th and another fine performance from all concerned.

I was not previously familiar with Dima Slobodeniouk, who hails from Moscow and previously studied under Esa-Pekka Salonen, amongst others, but I was impressed by his style and enthusiasm and he appeared to have established a very positive rapport with the orchestra. Who knows, a potential replacement for Petrenko when he moves on to greater things?

I will have the pleasure of revisiting the whole performance (minus the Fitkin but Sibelius's 'En Saga', instead) later today, when I return for the second performance of the week. Hope it's as good as the first.


----------



## Haydn man

Templeton said:


> I was back in Liverpool, on Thursday 7th May, for the following performance by the Royal Liverpool Philharmonic Orchestra:
> 
> Graham Fitkin Intimate Curve
> (World Premiere Liverpool Philharmonic 175th Anniversary Commission)
> Tchaikovsky Violin Concerto
> Beethoven Symphony No.7
> 
> Dima Slobodeniouk conductor
> Alina Ibragimova violin
> 
> The Fitkin piece was a very pleasant surprise, to my ears, both classical and modern, at the same time and combining extremely well. I am not usually a great fan of modern classical but this pushed all my buttons and I will certainly be purchasing the first official recording. Mr Slobodeniouk and the orchestra certainly appeared to be enjoying themselves, which I am always happy to see.
> 
> Alina Ibragimova then provided us with a beautiful and sensitive performance of the Tchaikovsky Violin Concerto. It's always a joy to see any musician, who is lost in their performance and her bashfulness at the well deserved ovation that greeted her conclusion of the piece was especially endearing. She did an encore of Eugène Ysaÿe's Third Sonata(?); not sure but this is what it says elsewhere.
> 
> After the interval, a performance of my favourite symphony of all, Beethoven's 7th and another fine performance from all concerned.
> 
> I was not previously familiar with Dima Slobodeniouk, who hails from Moscow and previously studied under Esa-Pekka Salonen, amongst others, but I was impressed by his style and enthusiasm and he appeared to have established a very positive rapport with the orchestra. Who knows, a potential replacement for Petrenko when he moves on to greater things?
> 
> I will have the pleasure of revisiting the whole performance (minus the Fitkin but Sibelius's 'En Saga', instead) later today, when I return for the second performance of the week. Hope it's as good as the first.


Been to the Sunday performance with my wife, and a wonderful afternoon it was.
My wife was in tears through the Tchaikovsky she found it so emotional.
Ibragomova did a Bach Partita as an encore, a delightful bonus
The orchestra were superb throughout, Slobodeniuk conducted with great commitment to which they responded.
What a way to spend a Sunday afternoon


----------



## Templeton

Haydn man said:


> Been to the Sunday performance with my wife, and a wonderful afternoon it was.
> My wife was in tears through the Tchaikovsky she found it so emotional.
> Ibragomova did a Bach Partita as an encore, a delightful bonus
> The orchestra were superb throughout, Slobodeniuk conducted with great commitment to which they responded.
> What a way to spend a Sunday afternoon


Agreed, it was a terrific way to spend a Sunday afternoon.

I actually thought that Ms Ibragimova's performance surpassed that of Thursday evening, perhaps because she had more time to bond with the orchestra and rest. It was a truly stupendous performance and I found myself thinking that it is performances such as this, with the performer and orchestra responding so enthusiastically towards each other that are most likely to attract newcomers and especially younger audiences to classical concerts. In some ways, their performance was very modern, like two rappers going toe to toe. It was exciting and a sheer joy to listen to and watch.

I think that Slobodeniuk has studied and peformed extensively in Scandinavia, so he was always likely to be a good choice for the Sibelius piece, as proved to be the case. I really liked him and as noted previously, he appeared to have established a very good rapport with the orchestra.

Again, I thought that the performance of Beethoven's 7th surpassed that of Thursday night. The orchestra appeared more confident and yet more relaxed and I thought that the tonal highs and lows came more to the fore but this may have been as much to do with my change of seating; I was in the front row for the first performance and in the middle of the stalls (my preferred position) for the second.

It's the first time that I have attended two concerts of the same programme and performers, so it was interesting to compare the performances. In any case, I am a firm believer that one can never enjoy too much Beethoven, although I am aware that certain other posters will vehemently disagree with this opinion .


----------



## senza sordino

Last Saturday night I attended a lovely concert, with guest soloist Angela Hewitt.

Márquez Danzón no 2
Falla Nights in the Garden of Spain
Ravel Piano Concerto for the left hand
Ravel Le Tombeau de Couperin

Angela Hewitt played two concerti in one night, a real treat. Yes, I know, technically Nights in the Garden of Spain is not a true concerto. Superb playing. Such a treat to watch. And during the left hand concerto, her right hand lay limp on her lap. I'd never seen this piece performed before. 

The Márquez was fantastic, I'd never heard of him or the music before. 

Le Tombeau de Couperin was good until the very end, when the conductor slowed them all down for the final chord and it all went badly. The ritard was not together. "They need to all get ritarded together but didn't." I know how this can go, being in an orchestra. We performed that piece two years ago, so I know it well. 

I had my own orchestra performance on Sunday afternoon. We performed Rossini Thieving Magpie Overture, Brahms double concerto with two young local men as soloists, and Sibelius second symphony. It all went well, considering how badly some rehearsals went.


----------



## Vaneyes

Radames said:


> Shostakovitch 11th Symphony in Montreal last night. 8 or 9 people walked out 20-30 minutes into it.


Maybe it was too early for them. I find the best time for 11, is 'tween 1AM and 3AM.


----------



## Radames

Skilmarilion said:


> I saw a very solid performance by an amateur London orchestra a couple of weeks back:
> 
> *Mussorgsky* - _Khovanchina_, Overture
> 
> *Bartok* - Viola Concerto
> 
> *Elgar / Payne* - Symphony No. 3
> 
> Lev Parikian, cond.
> Emmanuella Reiter, Viola
> 
> I hadn't heard any of these works before, but really enjoyed the Mussorgsky and Elgar -- the latter is quite profound, and is an incredible achievement by Anthony Payne.


I would love to hear that Elgar in concert. We don't get enough Elgar in the concert hall here. I've heard the 1st Symphony, but never the 2nd in concert. May have to fly to England for the 3rd!



senza sordino said:


> Last Saturday night I attended a lovely concert, with guest soloist Angela Hewitt.
> 
> Márquez Danzón no 2
> Falla Nights in the Garden of Spain
> Ravel Piano Concerto for the left hand
> Ravel Le Tombeau de Couperin
> 
> Angela Hewitt played two concerti in one night, a real treat. Yes, I know, technically Nights in the Garden of Spain is not a true concerto. Superb playing. Such a treat to watch. And during the left hand concerto, her right hand lay limp on her lap. I'd never seen this piece performed before.
> 
> The Márquez was fantastic, I'd never heard of him or the music before.


I had never heard that Márquez until a couple of years ago when I heard it in concert. I've heard it a few times in concert since then. It's getting popular for some reason. maybe because it's a fun piece.

Sibelius 2nd Symphony in Montreal for me last night. No one walked out on that.


----------



## Pugg

Tonight going to the memorial of the bombarding of Rotterdam 14-05-1940

*Mahler 2* - 
*Rotterdams Philharmonisch -
*
Datum
donderdag 14 mei 2015
Aanvang
20.15 uur

Mahler - Symfonie nr.2
Uitvoerenden

Rotterdams Philharmonisch Orkest
o.l.v. Manfred Honeck - dirigent
m.m.v. Christina Landshamer sopraan
Christianne Stotijn alt
Groot Omroepkoor


----------



## Itullian

Pugg said:


> Tonight going to the memorial of the bombarding of Rotterdam 14-05-1940
> 
> *Mahler 2* -
> *Rotterdams Philharmonisch -
> *
> Datum
> donderdag 14 mei 2015
> Aanvang
> 20.15 uur
> 
> Mahler - Symfonie nr.2
> Uitvoerenden
> 
> Rotterdams Philharmonisch Orkest
> o.l.v. Manfred Honeck - dirigent
> m.m.v. Christina Landshamer sopraan
> Christianne Stotijn alt
> Groot Omroepkoor


Enjoy!!! :tiphat:


----------



## Pugg

Itullian said:


> Enjoy!!! :tiphat:


Thank you very much.:cheers:


----------



## Templeton

Apologies if this is the wrong place but for those of us, who post from the North of England, just wish to bring to your attention that the Royal Liverpool Philharmonic Orchestra and the Hallé Orchestra, in Manchester, have just released details of their 2015/16 seasons. Details are at:

http://www.liverpoolphil.com/?lid=14&fromday=17&frommon=4&fromyear=2015&today=30&tomon=4&toyear=2015&period=4-2015

https://tickets.bridgewater-hall.co.uk/single/EventListing.aspx/?ignoremobile=y

Some great concerts but the highlight for me will be Sir Andrew Davis conducting the RLPO in:

Mozart Violin Concerto No.5 'Turkish'
Bruckner Symphony No.9

Sir Andrew Davis conductor
Esther Yoo violin


----------



## mellame

Oh, I am so jealous of all of you! I was supposed to go to see the Minnesota Orchestra this month but something got messed up with the transaction of the tickets or something (we ordered them online) and now I can't go.


----------



## Pugg

Pugg said:


> Tonight going to the memorial of the bombarding of Rotterdam 14-05-1940
> 
> *Mahler 2* -
> *Rotterdams Philharmonisch -
> *
> Datum
> donderdag 14 mei 2015
> Aanvang
> 20.15 uur
> 
> Mahler - Symfonie nr.2
> Uitvoerenden
> 
> Rotterdams Philharmonisch Orkest
> o.l.v. Manfred Honeck - dirigent
> m.m.v. Christina Landshamer sopraan
> Christianne Stotijn alt
> Groot Omroepkoor


I did have a very memorable evening, _one could hear a pin drop._....


----------



## pianississimo

Templeton said:


> Apologies if this is the wrong place but for those of us, who post from the North of England, just wish to bring to your attention that the Royal Liverpool Philharmonic Orchestra and the Hallé Orchestra, in Manchester, have just released details of their 2015/16 seasons. Details are at:
> 
> http://www.liverpoolphil.com/?lid=14&fromday=17&frommon=4&fromyear=2015&today=30&tomon=4&toyear=2015&period=4-2015
> 
> https://tickets.bridgewater-hall.co.uk/single/EventListing.aspx/?ignoremobile=y
> 
> Some great concerts but the highlight for me will be Sir Andrew Davis conducting the RLPO in:
> 
> Mozart Violin Concerto No.5 'Turkish'
> Bruckner Symphony No.9
> 
> Sir Andrew Davis conductor
> Esther Yoo violin


Nice to see that Tai Murray is coming back to Liverpool next season. I might travel down for one of those. She's a fantastic violinist.


----------



## Radames

mellame said:


> Oh, I am so jealous of all of you! I was supposed to go to see the Minnesota Orchestra this month but something got messed up with the transaction of the tickets or something (we ordered them online) and now I can't go.


Don't they have a way you can print your ticket at home? I get a lot of my tickets that way.


----------



## Kivimees

Returned an hour ago from the season-ending concert - this time I had my daughter as my listening partner. She enjoyed Bruckner no. 2, but said she found it hard to concentrate for such a long time. The Britten piano concerto was a real winner - she announced it was "about the best work she had ever heard in concert".

(She also thanked me for taking her to the concert after I drove her home.)


----------



## Pugg

I am going to see Tuesday coming (05/19)
Live at The concertgebouw Amsterdam......

Musici
*Juan Diego Flórez (tenor) His début 
Pretty Yende (sopraan)*
Het Gelders Orkest
Christopher Franklin (dirigent)
Programme
Donizetti - Sinfonia (uit 'Linda di Chamounix')
Donizetti - Linda! Linda! (uit 'Linda di Chamounix')
Donizetti - Da quel di che t'incontrai (uit 'Linda di Chamounix')
Donizetti - O luce di quest' anima (uit 'Linda di Chamounix')
Rossini - Che ascolto? Ahime, che dici? (uit 'Otello')
Bellini - Ah! non credea mirarti (akte 2) (uit 'La sonnambula')
Bellini - Ah! non giunge (akte 2) (uit 'La sonnambula')
Offenbach - Au mont Ida (uit 'La belle Hélène')
Donizetti - Una parola, Adina (uit 'L'elisir d'amore')
Gounod - Va! Je t'ai pardonné (uit 'Roméo et Juliette')
Gounod - Nuit d'hyménée! (uit 'Roméo et Juliette')
Gounod - L'amour, l'amour (uit 'Roméo et Juliette')
Gounod - Ah! lève-toi, soleil (uit 'Roméo et Juliette')
Massenet - Suis-je gentille ainsi? (uit 'Manon')
Massenet - Je marche sur tous les chemins (uit 'Manon')
Massenet - Gavotte (uit 'Manon')
Donizetti - Ouverture (uit 'Don Pasquale')
Donizetti - Una furtiva lagrima (uit 'L'elisir d'amore')
Bellini - Qui la voce sua soave (uit 'I puritani')
Bellini - Vien, diletto (uit 'I puritani')
Donizetti - Qui di sposa eterna (uit 'Lucia di Lammermoor')
Donizetti - Ah! Verrano a te (uit 'Lucia di Lammermoor')


----------



## Albert7

This afternoon I went to the Utah Opera at the Capitol Theater for the final performance of the season. I went with Ben and my stepdad. It was marvelous.


































I love this opera very much. Stravinsky's genius is evident and really loved the postmodern Epilogue where the libretto makes a wonderfully sly reference to the structure of the tragicomedy. Also lovely is a Shakespeare reference to all's the world is a stage and the artificially of life as a structured drama. Got to admit that the point of the fable is not just the wonderful and moral ending but also the concept of everyone's life as a historical construct.

And the music is the crowning achievement of it. Such glory of Stravinsky that is wrought from a master's pen. A1 sauce.


----------



## Radames

The high point of the season last night in Montreal - Mahler's 3rd.


----------



## Pugg

*Tonight in Amsterdam : Eva Maria- Westbroek.
*
Musici

Het Gelders Orkest
Ed Spanjaard (dirigent)
*Eva-Maria Westbroek* (sopraan)
Frank van Aken (tenor)
Francis van Broekhuizen (sopraan)
Laetitia Gerards (sopraan)
Peter Gijsbertsen (tenor)
Tania Kross (mezzosopraan)
Karin Strobos (mezzosopraan)
Martijn Sanders (bariton)
Program

Puccini - Vierde akte uit Manon Lescaut
Wagner - Derde scène uit de eerste akte van Die Walküre

And aria's en duetten from Don Giovanni, Il barbiere di Siviglia, Don Carlos, Le Cid, Les pêcheurs de perles, Werther, Manon en Madama Butterfly


----------



## manyene

Last night, the final three symphonies by Sibelius, an imaginative concert conducted by Thomas Dausgaard and featuring the Royal Liverpool Philharmonic. The Sixth Symphony is a particularly rare treat with its harp.


----------



## Eramirez156

This after noon at Orchestra Hall, the CSO played

Debussy Syrinx
Ravel Piano Concerto in G Major
Messiaen Turangalîla-symphony

Esa-Pekka Salonen
Jean-Yves Thibaudet 
Chicago Symphony Orchestra

They rocked the house.


----------



## Albert7

Last night Ben, his fiancee Jessica, and Powell came along with me to view the Mahler's Fourth Symphony for the final concert for this season of the Utah Symphony.


























The Mahler symphony was the highlight of the evening in spite of the inconsistent playing by the orchestra. You can't go wrong with Mahler any given day of the week.


----------



## senza sordino

Last night I went to the symphony and saw them perform

Alexina Louie Infinite Sky with Birds
Maurice Ravel Piano concerto in G
Franz Schubert Fifth Symphony

The guest conductor was Alexander Shelley from the UK. And the pianist was Janina Fiakowska from Montreal. This concert is part of the musically speaking series where the conductor talks to the audience to introduce each piece, there was a video screen interview with the soloist and conductor before the concerto and during the performance, there were two video screens showing close ups of performers. 

The first piece is by Alexina Louie. Infinite Sky with Birds. She came out herself and talked to the audience about her piece. It's supposed to be about 1000 birds taking flight. A fast piece of music, lots of notes, lots of percussion but not loud, but light. Very nice piece. 

The Ravel piano concerto is normally a ravishing piece of music, but not last night. I know it so very well, but there did seem to be a few wrong notes even though many parts can be discordant. And the piano seemed muted somehow. The harp was nice. The weakest of the three pieces, in my estimation. Only some gave her a standing ovation after. 

The Schubert was great. Done well, with a smaller wind and brass section. Lots of strings. Shelly conducted without a score. Nice conducting style, easy to follow. He was quite funny with the audience. I think the orchestra liked him as guest.


----------



## Taggart

Norwich Baroque time again. This time in St Stephen's Church. Although it was a chill May evening, the church was warm and comfortable.

This was a joint effort with the Morley Consort. Named after Thomas Morley, who moved from Norwich to London to become a Gentleman of the Chapel Royal in the 16th Century, the Consort started at UEA when it had a music school but has now moved into the wider city retaining links with UEA but also with the Cathedral and Norwich School. The evening was based around a semi-staged performance of Purcell's _Dido and Aeneas_ and the first half included works by Byrd, Blow, Boyce and Purcell. A real Norwich evening as Purcell worked with another of the city's sons - John Playford who moved from Norwich to London to go into the book-selling trade.

The first half started with a Byrd Madrigal, _This Sweet and Merry Month of May_ then "progressed" to Purcell's _Fantasia upon One Note_ which despite its title was not at all monotonous. The Morley Consort then did two pieces Purcell's _Hear my payer _ and his tutor's, John Blow, _Salvator Mundi_. Norwich Baroque finished the first half with Boyce's Symphony No. 1. This allowed us to see the excellent playing and singing and gave us high hopes for the second half.

We then proceeded to _Dido and Aeneas_. It was a semi-staged version of a through-composed opera; the singers entered from the front with the chorus behind the orchestra. It was a delightful hour of beautiful music and singing and the cast and the orchestra received many well deserved ovations at the end.


----------



## Skilmarilion

June 2nd ...

Barbican Hall, London
London Symphony Orchestra
Daniel Harding (w/ Janine Jansen)

*Edward Rushton* _I nearly went, there_
*Mendelssohn* Violin Concerto
*Mahler* Symphony 5

It was kind of a last-minute decision to go to this one. Rushton was completely unknown to me beforehand -- apparently he's a mate of Harding's going back to Uni. The piece had some sparks for sure, but it failed to engage me completely on that single listen. He came on stage afterwards and shared a cool man-hug with Dan, lol.

The Mendelssohn concerto was a 'first love' of mine, and I hadn't seen it done live before. Jansen was just clinical, giving a passionate performance at every turn (still quite a feat, given the unimaginable number of times she's probably played it). I thought her phrasing during the cadenza was particularly impressive. She did a nice encore of the finale to Prokofiev's Sonata for Two Violins with the LSO's concertmaster.

The Mahler was brilliant, and getting to see the opening minutes of the _Trauermarsch _ live is just pulsating stuff. The guy on trumpet for the opening solo absolutely nailed it (it felt to me like he wasn't speeding up during that initial crescendo, which I like). I enjoyed the rest of the performance a lot -- admittedly, the scherzo and finale are not huge favourites of mine, and I'd say that Harding didn't really convince me to budge on either movement. The adagietto was gorgeous, with the strings sounding quite warm and the music never feeling too slow (which can happen). When you listen to a lot of Mahler, you often 'forget' just how remarkable the adagietto is, and I won't pretend that I could ever put into words that "how remarkable" ...


----------



## gHeadphone

Anything decent this week in New York? Im over for work


----------



## papsrus

gHeadphone said:


> Anything decent this week in New York? Im over for work


Carnegie Hall, Friday June 12, 8 p.m.

St. Petersburg Philharmonic Orchestra
Nikolai Alexeev, Conductor
Program
TCHAIKOVSKY Symphony No. 4
SHOSTAKOVICH Symphony No. 5

Carnegie web site

Lincoln Center web site.

:tiphat:


----------



## senza sordino

Last night's concert was the season finale for the Vancouver Symphony Orchestra. And it was a terrific performance. 

Sibelius The Bard
Ravel Tzigane, the soloist was the competition winner of the VSO school of music, Lucy Wang
Mahler 5
Conductor Bramwell Tovey

Tzigane was played so very well, it was very exciting to watch 18 yr old, Lucy Wang, play with so much passion and technical skill. I've heard it many times but it was the first time I saw the piece performed. Now I can watch the left and right hand pizzicato, and the super high positions on the G and D string, terrific to watch. 

Mahler's Fifth Symphony was fantastic. Seven horns, eight basses, at least two dozen violin players, etc. They couldn't fit anymore on the stage. The conducting was tight and well controlled, good tempi throughout. And the wind players, both brass and wind had their bells up to emphasize the sound when needed. I'm always in the tenth row so I can't see the back very well, and playing with their bells up in the air is unusual. Not one missed note or missed cue at all, it was a brilliant performance. Over the years, I've heard some wobbly notes, but last night the whole orchestra and conductor were on form.


----------



## Radames

The concerts really slow down this time of year. Got to scrounge around to find them. There are websites like The Boston Musical Intelligencer and Montreal Classical Music Calendar that give some. tonight there's a youth orchestra concert in Lachine Montreal. Beethoven 5th. Tomorrow the Boston Civic Symphony is playing at Colby Sawyer college -Rachmaninoff Piano Concerto No.2. and Tchaikowsky’s “Swan Lake” Selections. 
Sunday I found a local chamber music concert. Sonatas for cello and piano by Shostakovich and Debussy.


----------



## TurnaboutVox

Royal Northern College of Music, Manchester
Thursday 25 June 2015

Seven Gates: The Music of Poland Explored

*Krzysztof Penderecki: String Quartet No 3
Karol Szymanowski: Songs of a Fairy-tale Princess Op 31 for voice and piano
Krzysztof Penderecki: Cadenza for solo viola
Agata Zubel: Suite for percussion trio*

The performers weren't named in the programme, but I think they were all RNCM students. All were excellent.

Vox junior and I attended this great little concert of modern and contemporary Polish chamber music (part of a series), the Penderecki string quartet #3 being brought off particularly well, as well as the wonderful Szymanowski songs in a style rather like Berg-meets-Debussy.

To cap it all, I exchanged a few words with an elderly gentleman sitting immediately behind me before the recital. He got up on stage to embrace the quartet after their performance because, it turns out, he was Krzysztof Penderecki!


----------



## Proms Fanatic

Great to have a concert with such an unusual programme in the North of England!



TurnaboutVox said:


> To cap it all, I exchanged a few words with an elderly gentleman sitting immediately behind me before the recital. He got up on stage to embrace the quartet after their performance because it turns out, he was Krzysztov Penderecki!


That's an unusual encounter! Aren't composers normally given a front-row seat?


----------



## TurnaboutVox

Proms Fanatic said:


> Great to have a concert with such an unusual programme in the North of England!


The RNCM does quite a bit of adventurous programming, and for £8 / £7.20 for a student, this was great value.



Proms Fanatic said:


> That's an unusual encounter! Aren't composers normally given a front-row seat?


He and his party were in the third row of quite an intimate chamber recital space. As the entire width of the room was used by the different ensembles of musicians playing, it may actually have been easier to take in the whole performing space from slightly further back. But I'm guessing here, obviously.


----------



## 38157

Saw Penderecki last night in the Bridgewater Hall, Manchester. He conducted the Seven Gates of Jerusalem, performed by the RNCM (one of my friends was in the choir). The orchestra also played Lutosławski's Concerto for Piano and Orchestra (conducted by Maciej Tworek) and Penderecki's Entrata, the conductor of which I can't recall. All in all, fantastic evening, and I can't wait to see Penderecki again in October at London's Royal Festival Hall.


----------



## Radames

I went to Flogging Molly last week.


----------



## manyene

senza sordino,

A really good orchestra: I was in Vancouver during Meredith Davies' tenure in the late 60s. 


On a smaller scale, my local orchestra (Ormskirk Music Society) put on a Viennese evening of Strauss (J. etc) waltzes, finishing up woth a 'Sound of Music' choral medley to round off the season. Our conductor remarked that the Germans do not call this 'light music', just 'music'.


----------



## TurnaboutVox

****** said:


> Saw Penderecki last night in the Bridgewater Hall, Manchester. He conducted the Seven Gates of Jerusalem, performed by the RNCM (one of my friends was in the choir). The orchestra also played Lutosławski's Concerto for Piano and Orchestra (conducted by Maciej Tworek) and Penderecki's Entrata, the conductor of which I can't recall. All in all, fantastic evening, and I can't wait to see Penderecki again in October at London's Royal Festival Hall.


Ah, I thought that would be really good. I had to choose between the RNCM recital or the Bridgewater Hall concert, and as I'm a chamber music nut and I'm in Manchester for work anyway on a Thursday afternoon I chose the former - which was excellent.

I've just noticed your avatar, by the way, so I imagine you have a connection to Poland?


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## 38157

Yeah, I wish I could have seen them both. The 3rd string quartet's my favourite, and I like Szymanowski a lot, too. I haven't heard of Zubel, so it'd have been nice to discover some new music, but I'll just have to listen to her on Youtube.

I'm trying to learn Polish since I think it's a great language (and I have many of Polish friends, one of whom lives in Gdańsk, so when I visit I want to be able to get around fairly independently), but really (at least, as far as I know), I have no close connection to Poland. I got a postcard from my friend once, from Kraków, and it had that stamp on it, and I thought the design looked pretty good. In a way it's quite sinister, reminds me slightly of Magritte.


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## Avey

So... I am about to do some catching up.

*Haydn - The Creation*
Halls, Oregon Bach Festival

Absolutely terrific. I dare say that the OBF orchestra, soloists, choir, conductor(s) are one of the preeminent performing groups in the nation today. True, this is a temporary 18-day excursion, with musicians from all over the nation, so it is not necessarily an exclusively local group working together. But my point being is that we have symphony orchestras all over the country -- n.b. the lesser known, volunteer-based ones are just as terrific as the recording groups -- including festival and traveling performing groups that put out tremendous work to rival the established ones. No one here needs to be reminded of that. So, why did I digress? I don't know. I never do.

Anyways, highlights? Just one: the soprano's recitative, with the Chorus (_Mit Staunen sieht das Wunderwerk_), made me smile and brought joy to the rest of my evening. That section alone.

Oh, and _Die Vorstellung des Chaos_ sets some other sort of tones that even contemporary composers cannot convey. Who needs Webern when you got Haydn?!

(Just a joke. Please don't debate tonality.)


----------



## Avey

*Beethoven*
*Ah! Perfido*, *Symphony No. 2*, *Violin Concerto*
Halls, Berwick Academy (HIP)

My first HIP performance! Which, I could spend plenty of time writing about, but I will save that for some other forum. Simply, this _did_ sound different. And maybe if I closed my eyes, never read the notes, stumbled into that theatre that day I would have just said, "Oh, you know, this sounds a tad _rough_, or not as loud and pressing as I am used to." But the final piece highlighted the particulars of the performance. And that piece alone gave me new insights into joys and _*importance*_ of historically informed performances.

*Ah! Perfido* This opened with soprano Tamara Wilson -- a local obsession, because of the OBF -- storming in from backstage doors, strutting toward front stage _AH! PERFIDO. SPERGUIRO, BARBARO TRADITOR TU PARTI?_, totally dominating the scene. That was enough for me to, like, gosh I don't know, look at my avatar. That was me. As usual.

*Symphony No. 2* Not my favorite LVB symphony, but I have always paired it with the Fourth (why?) in certain melodies, dynamics, form. And to say "this is not my favorite Beethoven (sub: Mahler, Mozart, Brahms) symphony" is worthless, I know, because they are all extraordinary. But you have impressions when you go to performances, and so I had my opinions.

But perfect performance. Duh. And with the HIP element, I was able to get a new perspective on the work. Like, that finale, seriously; we give _Eroica_'s opening chords certain stature, but the allegro here is equally striking. Sure, on a slight listen, an early listener may mistake this for Mozart. But very late Wolfgang. The _scherzo_ here is not so far from Mozart's stuff, granted, but the quasi-imperial nature of that opening theme in the finale, that stuff borders on comedic. In a profoundly vulgar sort of manner. It just moves toward a grand farce, in a good way.

*Violin Concerto*








Everything builds from that. Everything. And that is so *so* amazing.


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## ComposerOfAvantGarde

Went and saw a concert of world premieres by local ensemble Plexus. There is something so invigorating and exciting about hearing new music for the first time! The concert was held in the Salon at the Melbourne Recital Centre, a small room. The trio of musicians (clarinet, violin, piano) were situated at the centre near one of the longer walls of the rectangular room and chairs were arranged surrounding the performance space. There was a great vibe throughout the concert, and I loved how that after each piece during the applause, Plexus would look around the room for the composer, the composer would stand up from the audience and receive an applause of his or her own. An incredible concert performed by a relatively new (one and a half years old) ensemble devoted to the performance of new music.


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## ComposerOfAvantGarde

Oh also, I wrote a short piece and wrote a letter to them on the back of it and quickly gave it to them as they were leaving at the end of the concert as some kind of self promotion. I gotta survive somehow!


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## papsrus

^ Wonderful reviews -- thanks!


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## TurnaboutVox

Saturday 4th July 2015
Manchester International Festival 
Bridgewater Hall, Manchester

*Mozart
Requiem Mass in D minor, K.626*
Soprano Ruby Hughes
Mezzo soprano Clara Mouriz
Tenor Steve Davislim
Bass baritone Jochen Kupfer

*Mark Simpson
The Immortal - An Oratorio (world première)*
Librettist Melanie Challenger
Baritone Mark Stone

BBC Philharmonic Orchestra, Conductor Juanjo Mena

EXAUDI - Director James Weeks

Manchester Chamber Choir - Chorus master Justin Doyle

We booked thickets for this as Mozart is to Mrs. Vox's taste, and contemporary is Vox Jr.'s. I am equally happy with either. And in fact we all enjoyed both works a great deal, although it was quite hard for me to hear the orchestra over the choirs, especially in the lower registers. I think this may have been because we were sitting at the extreme edge of the stalls (I was in the last seat before the side wall). I haven't noticed this problem at the Bridgewater Hall before - it may just be my ears.

I'm glad to have heard the wonderful Mozart Requiem live, it really is a fine work.

Someone was filming this performance, so hopefully it will be broadcast at some point.

Of the new work:



> Manchester International Festival presents The Immortal, a new work for orchestra and chorus by one of Britain's brightest young composers, Mark Simpson.
> 
> Inspired by John Gray's book The Immortalization Commission, Simpson's work explores the obsession with death that lies at the heart of the human experience.
> 
> Drawing on the so-called 'Cross Correspondences', the extraordinary scripts of a series of séances undertaken in the first decades of the 20th century, this oratorio portrays the crisis of faith experienced by Frederick Myers, president of the Society of Psychical Research. Myers' attempt to prove the existence of an afterlife was made more poignant by his own desperate hope of reuniting with the love of his life, whose untimely death haunted both his life and his work.


My son and I were wondering how many people would return to their seats for the new work after the interval, but we need not have worried. The only person nearby to us who didn't come back was a young woman who had sat still and stony faced throughout the lengthy applause for Mozart's Requiem (maybe she had been dragged along reluctantly: there didn't seem anything in the performance to annoy anyone). 'The Immortal' might have got a standing ovation from a younger audience - there were certainly a lot of young people trying to get the audience on their feet. But the middle aged majority (T-Vox included, I'm sorry to say) stayed put and applauded from the comfort of their seats!


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## Skilmarilion

TurnaboutVox said:


> To cap it all, I exchanged a few words with an elderly gentleman sitting immediately behind me before the recital. He got up on stage to embrace the quartet after their performance because, it turns out, he was Krzysztof Penderecki!


I do hope you told him to hurry the hell up with his 6th symphony.


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## Skilmarilion

A couple of belated reviews. 

*June 25 - LSO St. Luke's, London*
Nicola Benedetti, violin
Alexei Grynyuk, piano

*Mozart* - Violin Sonata #21 in E minor
*Beethoven* - Violin Sonata #9 "Kreutzer"

Fairly standard repertoire here, although I did not know these pieces all that well beforehand. The Mozart was surprisingly moving, in places haunting. That second movement has to be one of the most tragedy-infused minuets ever. Benedetti and Grynyuk play together a lot, and it showed. As far as I could tell they were pretty flawless, yet emotionally engaging as well. They destroyed the first movement of the Kreutzer for sure, with brilliant attack and vigour.

A couple of side points;

i) doesn't it annoy anyone else that pianists have a page-turner in chamber concerts? I mean, Grynyuk can play a dazzling Liszt concerto off memory one night, yet he needs the music *and* a page-turner for a Mozart violin sonata? Just don't get it. It seems to me that violinists, not unlike pianists, require two hands to play their instruments. But no page-turner for them. Just LOL.

ii) Benedetti is just stunning in person. Like, a real hottie. Especially when she's not smiling and has that serious, "I'm interpreting fine art here" kind of a look on her face. It just has to be said.

-------------------------------

*July 2 - Cadogan Hall, London*
London Phoenix Orchestra
Levon Parikian, cond.

*Dukas* - The Sorcerer's Apprentice
*Dvorak* - The Wood Dove
*Mahler* - Symphony #1 in D major

I had a free ticket to this one! These guys aren't a mainstream ensemble to say the least, being made up of some music students as well as straight amateurs. I think they give 5 concerts a year. Having said that, they're excellent. I mean, you can easily hear the difference between them and say, the LSO. But the drop-off really isn't that profound, surprisingly.

I'm pretty indifferent to the Dukas piece. The Dvorak, I hadn't heard before, and I was blown away. Brilliant, brilliant music. I actually hadn't even read the story to this tone poem, and before it began I was kind of regretting it... but by the end I couldn't care less what the story is!

I suspected that the Mahler might be too great a task for these guys, but they bloody well pulled it off. The only thing I'd say is, that ever so delicate whisper in the strings that opens this work was a little shaky. But the delicate moments in the third movement were played wonderfully, particularly the double bass solo was very convincingly done. I love the madness that opens the finale, and everything from there on just unfolds brilliantly. I do wonder whether the coda is little bit OTT; certainly nearly all the other symphonies' endings are more tastefully done in my view.*

* the hidden agenda being of course that the fewer ff bass drum strokes there are, the better. I mean, that the thing can be *violently* loud!


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## papsrus

TurnaboutVox said:


> (...)
> And in fact we all enjoyed both works a great deal, *although it was quite hard for me to hear the orchestra over the choirs, especially in the lower registers. I think this may have been because we were sitting at the extreme edge of the stalls *(I was in the last seat before the side wall). I haven't noticed this problem at the Bridgewater Hall before - it may just be my ears.
> 
> (...)


I doubt it's your hearing. But your observation invites a question I think about fairly carefully when selecting seats for a performance: where is the best place to sit, given the music, the size of the ensemble and the venue?

General rule of thumb for me is to sit as close to the center as possible for the best balance. This seems obvious, but it becomes more important the closer I am to the stage, less important the further away I am. And for full orchestra in conventional configuration (with cellos on the right side, violins on the left -- as viewed from the audience) this becomes even more important. I recall sitting off to the right about 20 rows back in a fan-shaped hall with dry acoustics, and the cellos were completely lost on me, as they basically had their backs to me.

Some might scoff, but even moving a few seats can affect the perception of music.

At a recent chamber concert in my local opera house -- a fairly cozy house, not one of those huge, cavernous venues -- I sat for the first part of the performance in a seat that was near center in the front section of the balcony, third row. It was fine. After intermission I moved to an open seat in the front row of the balcony, a little further off to the right. Maybe 20 feet from where I was sitting for the first half.

There was a noticeable improvement in the clarity of the music. So much so that I began to suspect there were hidden speakers somewhere nearby. (The performance was being filmed and microphones were placed on the stage to capture the sound for the film crew.) I checked later and was reassured that although the opera house does have hidden speakers, they are only used for live broadcasts of operas from elsewhere, never for live performances.

Anyways, I believe some care should be taken in selecting seating, given the music being performed, the size of the ensemble and the acoustic of the venue. Sounds like being off to the side may have thrown a blanket over parts of the orchestra, in your case. But your hearing is fine, I'm sure.


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## TurnaboutVox

papsrus said:


> But your observation invites a question I think about fairly carefully when selecting seats for a performance:
> [...]
> General rule of thumb for me is to sit as close to the center as possible for the best balance.
> [...]
> And for full orchestra in conventional configuration (with cellos on the right side, violins on the left -- as viewed from the audience) this becomes even more important. *I recall sitting off to the right about 20 rows back in a fan-shaped hall with dry acoustics, and the cellos were completely lost on me*, as they basically had their backs to me.
> [...]
> Some might scoff, but even moving a few seats can affect the perception of music.
> [...]
> Anyways, I believe some care should be taken in selecting seating, given the music being performed, the size of the ensemble and the acoustic of the venue. Sounds like being off to the side may have thrown a blanket over parts of the orchestra, in your case. But your hearing is fine, I'm sure.


Ah, I should have warned you, I am hearing impaired and use hearing aids, so I can never discount my own ears in the equation. But I have no reason to disbelieve your hypothesis about where to sit in a concert hall.

I was at the far right end of row 8 in the stalls; the 'cellos had their backs to me and the basses were side on. I could hear them in the tune-up but not so much in performance.


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## papsrus

TurnaboutVox said:


> Ah, I should have warned you, I am hearing impaired and use hearing aids, so I can never discount my own ears in the equation. ...


My apologies. My brother in law, just 3 years older than me, has been wearing a hearing aid for several years now. It's a good thing for him because before he did he was becoming more and more withdrawn, unable to join in on simple conversation. He's back to his old, obnoxious self now! 

My father, aged 91, listens almost exclusively on headphones now -- Spotify, Digital Concert Hall, etc. -- and loves the brilliance of the sound he is able to hear.

The opera house I mentioned above has introduced some sort of technology for the hearing impaired where a device is provided that can be tuned to a certain frequency (I think that's how it works) and the sound is somehow enhanced.

I've also heard -- and perhaps you can confirm this -- that one of the issues with cell phones at concerts is that if people don't turn them off (i.e. if they instead simply turn the volume off but leave the phone on) this can interfere with hearing aids, causing a buzzing sound for people who wear them. Another reason to simply turn off your cell phone at concerts. Or better yet, leave them in the car. It's just a phone.


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## TurnaboutVox

papsrus said:


> My apologies.


Absolutely no apology required, Papsrus, the fault was mine in not making this clear in my first post.



papsrus said:


> I've also heard -- and perhaps you can confirm this -- that one of the issues with cell phones at concerts is that if people don't turn them off (i.e. if they instead simply turn the volume off but leave the phone on) this can interfere with hearing aids, causing a buzzing sound for people who wear them. Another reason to simply turn off your cell phone at concerts. Or better yet, leave them in the car. It's just a phone.


Even when my phone is switched to 'silent' I can tell I have an incoming call or text by the characteristic interference sound pattern in my hearing aids. But most concert halls have quite 'old' hearing assistance technology in the form of an induction loop, and the sound quality achievable by many systems isn't that good, compared to just using my hearing aids in normal mode and switching to a programme designed for music rather than speech comprehension.


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## Avey

*Part - Passio*
Craig H. Johnson, Berwick Chorus/OBF

Gosh, I do not even know where to begin with this. I feel that I will reveal much more about my own holes and tendencies toward music / religion than actually describing the music. But let me just start, I suppose.

I am familiar with some of Part's music -- namely _Fratres_, _Cantus for Britten_, _Tabula Rasa_, first and second symphonies -- but not his choral works. And I know those are highlights among his catalogue. Thus, I was anxious to attend.

The concert started at 9 pm(!). I don't think I have ever been to _classical_ concert that started so late. But it was Sunday, and it was 9. So, already, this had a very intimate, sacred feel. It was quiet, dark, not entirely packed in the concert hall, which itself was quite small (maybe 200 seats?).

And I was reading up on the notes, refamiliarizing myself with the _tintinnambulation_ and what not, stuff I was already aware of, I notice that the work only has six actual instruments, which surprised me. I was expecting a chorus, soloists, and orchestra, but instead, just a few instruments, so obviou ----

And then the performers came out, and promptly began. The next 75 minutes was a tale, a biblical, word-for-word one, set to subtle and minimalist music. I cannot say much about the actual music, since some of you may have heard the work, are familiar with it, or others are not, and I do not wish to set my impressions on you. But I can say that it was not what I was expecting. This is art that takes a certain individual to truly digest and enjoy.

And that is not to say that I did not enjoy it -- in fact, it was truly a profound performance. But I am afraid to admit, though here I am doing so, that I am highly unlikely to ever listen to this piece again, at least in my own free time. This is a work of such specificity and nuance, maybe even a fragile nature to it, that I felt -- during and on review -- quite _distanced _from its substance, considering my own listening tendencies. My beliefs had nothing to do with it. Instead, I was fully aware of what it meant for artists to be inspired by their beliefs, their religion, their faith. And, at least for this one time, I was unable to relate with Part's passion here. The work is so beyond me -- both aurally and intellectually.

If you just skipped to the bottom, in sum: This is a _very_ difficult work to get into, at least for my sake. I adore Part's other instrumental music, but the *Passio* is an entirely distinct, _transfigured_ (...) sort of beast.


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## Avey

*Bach, Bruckner, Brahms*
Halls, OBF Orchestra

*Bach - Cantata: Nach dir, Herr, verlanget mich (BMV 150)*
Beautiful. Typical. Fantastic start to the evening of _distinction_ and variance. Program notes indicate that this cantata may have been partially (maybe even fully) written by Bach, like the text. Don't know how to take that. But amazing nonetheless. The sound, you know, that is what matters.

*Bruckner - Te Deum*
I was unfamiliar with this piece until I got my tickets for it a few months ago. Listened to it a few times. Familiarized. But I was not prepared for the in-person experience. Just powerful. Absolutely domineering. Notes gave a fantastic quote from Anton: "When God finally calls me and asks, 'What have you done with the talent I gave you, lad?' I will present to him the score of my _Te Deum_ and hope he will judge me mercifully."

*Brahms - Symphony No. 4*
Truly, Bach is underlying this entire composition. And, while I favor his Third and Second before his Fourth, this is a miraculous work, in his era or beyond. The audience clapped after the first movement, which disappointed me. Namely because, like, no one claps after an adagio or andante movement, right? Seriously, think about it. We have this epic slow movement that follows, but no one would consider clapping, because, well, I don't know, most people like fast, loud sounds, so fail to recognize the significance and import behind such contemplating notes. Really annoyed me. Don't clap because it gets loud and ends on a 4-5-1 pattern. Clap because you are *aroused* by the passion and purpose. Think before you act. 
Avey Philosophy spilling out here.

Anyways, great night.


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## Avey

(Gosh, again?! OK, for real, people, post something! This should not be clogged by my digressions.)

*Mozart, and Ralph's Old Records*
Chamber Music Northwest; Beall Hall, Eugene Oregon

The Mozart works were terrific, obviously. Ken Bunch's piece was interesting (Ralph's Old Records for Flute, Clarinet, Viola, Cello, and Piano). Again, however, like my previous post, this performance was plagued with audience intrusion. Here, people _chuckled_ -- yes, chuckled, you know what I am talking about, where people give a little snicker when something is played pianissimo or pizzicato or jazz-like, you know of what I speak -- and this _chuckling_ was insulting. Because the piece was actually pretty remarkable. Bunch's recollecting his childhood and the sounds his late-father played in the house, that material is profound and ordinary. I very much liked the premise. Loved the composition. Despised the audience reacting, same ol' same old.

*Schubert, Rach & Chopin*
Ya-Fei Chuang, Piano; Beall Hall, Eugene Oregon

_Moments Musicaux_ are extraordinary, between both. I had never heard Rach's specifically, but it was lovely. I really enjoy that final movement. And Schubert is, well, y'all know. Schubert and the piano are like

The _24 Preludes_ was clearly the highlight. The strength, the passion, the dynamics, the diversity -- truly a great work to listen to in toto.

Also, Ya-Fei Chuang performed. I have no clue whether she is well-known nationally, abroad, etc. But she was great. Very stoic, I will admit, but precise nonetheless.


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## Avey

*(.........)*

So, for a preface: I listened to these works as a volunteer, backstage, in the _reception_ area for performers and the like. I am currently studying for the Oregon Bar exam, so I very much appreciate the time to just sit, study, and listen to live, perfect music. Plus, I get to see local stars, or traveling personas, and get star-struck, in my own petty, simple ways.

Regardless, I hear all this by ear (duh...?) and without any visual impression. So, maybe this is a closer inspection? Maybe not.

*Lord Nelson Mass (+ Pulcinella Suite, Mozart)*
Masaaki Suzuki, OBF Orchestra; Berwick Chorus

OK, I lied. I got to see the first half live, because I was offered a free seat, and obviously, I am not turning that down.

Anyways, I only intended to see the first selection -- Stravinsky -- because I very much like that work, but instead, I sit down, and hear they switch up the performances. So, I was stuck with Mozart's Symphony 25 first (.....) and then Pulcinella. Clearly, this was disastrous. I suppose I had to deal with the circumstances.

Side note, looking past the performance: Stravinsky's _Pulcinella Suite_ -- and full ballet, having listened to it a few days ago -- is so fantastic. I believe _Apollo Musagete _ is his finest (*refined*, most underrated) ballet, but damn, Pulcinella is so great. Whatever. Can we just agree, someone here knows how to pen ballets? Someone here knows how to pen music? Stravinsky. Late in the classical hey-day, sure, but preeminent in the listings of *great* and *necessary* composers. The man just had an innate understanding and impression of sound. Gosh, I am hard-pressed to find words to describe his music appropriately. But I try!

Mozart is solid. He is pretty good.

Haydn's Mass, on mere hearing (recall: I AM BACKSTAGE NOW, PEOPLE) was pretty good. I think Franz Haydn knew his notes.

Sorry, seriously, I don't know how else to rant on about Haydn or Mozart. Actually, they may not cull passion out of me like Stravinsky (and those other composers I spill out about) does. Maybe that reveals more about me than I care to admit.

But I just did. Whatever! PLEASE, who else went to something live?!


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## papsrus

I wish there was something going on live here during the summer but opportunities are pretty scarce. 

There's a piano festival coming up in a week or so in Tampa. I hope to attend some performances and if so, will post impressions here. 

Enjoy reading about your concert experiences.


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## Avey

*Mahler, Symphony No. 2*
Halls, OBF Orchestra, UO Chamber Choir

This was on my "bucket list," so to speak, for, well, since forever. I had a lot of anxiety and anticipation leading up to this.

Recently, I have been attending the rehearsals, getting a sense of how orchestras and their conductors operate. I enjoyed hearing commentary from Matthew Halls, the OBF music director and conductor, regarding Mahler's notes, symbols, tempo readings, etc. I was always curious how and more imporantly *why* one recording differs from another. Specifically, what is it that makes one conductor say "Let us play this quicker or louder," while another says "This passage should be played strictly, almost like a march," and then another says "This section represents chaos; we must play this maniacally, almost without rythym."

Anyways, sitting in on rehearsals, hearing the comments and the back-and-forth between musicians and the conductor was very revealing. I was that geek in the crowd sitting in on every rehearsal, not related to any orchestra member, not a music student, not an employee at the music hall, but instead, just some Mahler addict. But wait, there were like 20 of us! So, is this something we just don't speak about openly? This I wonder while gazing around.

As usual, I do not have a significant amount to say about the actual performance -- sensical w/r/t to the thread, right? -- instead, _bis_ as usual, I have more to say about the piece itself, and what the work means to me. For this comment, my takeaway is directly informed by my hearing the rehearsals. That is, there in the practice, I heard every movement maybe three or four times, some in full, others split up and repeated measures. Things could _potentially_ be withered down to their particularities, the very nuance, if you will, of the composer's/conductor's purpose. But my point here is that none of that matters, namely because of this composition and its existence, i.e. that Mahler wrote this stuff. Seriously, he wrote this!

Early today, as I sat there and heard the entire work, in its glorious (for whatever word I can insert here) entirety, I felt things, and all I can do here is at least recall those precise and personal impressions.

I kept fidgeting. I kept moving my hands to my cheeks, my temples, my lips, between my legs, a random scratch, at a nibbling between my teeth. I was, as you say, "on edge," for the time being. My body was wild, despite my mind _knowing_ and _anticipating_ this event.

For whatever I can remember, I end up with my hands below my jaw, and I can feel my pulse through my palms. My pulse is rampant and I get all warm, flustered, totally tense and unchecked. I knew this moment was coming, too, and all this intensity, all this life is rising up like _none of that anxiety mattered_. That is, I sit here, _expecting _and _knowing _and perfectly familiar with this work, what is coming next. Yet, what stuff must this be to affect me still?

Oh, and the soloists are crossing now, the chorus is repeating things about _wings_ and _soaring up_, and then I am being told again, for another time in my life, this time in a literal, physical sense, rather than something innate and internal like that time I was lying alone in a --

But the chorus builds up to this cataclys -- no, ethereal declaration that _only with death can you live_, that you _shall die to live_, that _death is only the beginning_, that whatever such struggle comes to you, the only question is what is next. The soloists, too, are here, and we are building to something so _tremendous that I don't know myself, now that it is over, how I could ever care to write *about* it_:

*Auferstehn*.

The lead second violinist was tearing up in this moment and all the way to the end. She was crying. Whether this was personal or merely due to the circumstance, I will never know. But that is all I need to know (to see) in finding that this composition, among so many (every) of Mahler's, is without equal. This is stuff nobody else can pen, but everyone else can adore.

Or maybe I am just one of those 20 people that attends rehearsals and that needs his music to feel the same passion as that violinist did. Or, being here, should I say, one of those hundreds...

Also, I am done for awhile! Seriously.


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## TurnaboutVox

Uh, I'm not going to attempt to emulate Avey's splendid efforts above, but I have been to another concert! A recital, rather.

Ribble Valley International Piano Week 2015
Westhome School, Blackburn, Lancashire, UK

*Beethoven
Piano Sonata No. 30 in E, Op. 109
Piano Sonata No. 31 in A-flat, Op. 110
Piano Sonata No. 32 in C minor, Op. 111*
Paul Lewis, piano

Mr. Lewis was pretty impressive in the E major and A-flat sonatas, but reserved his best for a majestic yet poetic Op. 111.
I really don't have the words to articulate what I heard, but the sudden calm of the arietta after the storms of the first movement was effective and moving. To be able to play like that! My neighbour (a stranger) brought me back to prosaic reality by exclaiming that he (Lewis) had 'such large hands!'


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## Avey

I am a liar! More material.

*French Connection - Rameau, Ravel, Messiaen*
Chamber Music Northwest

*Rameau's* _La Triomphante_ suite, selections from, and set for wind quintet. This was a unique take, and you could totally tell it was originally written for harpsichord. Just had that sound.

*Ravel's* _Chansons madecasses_
OK, for real, were people familiar with this piece. I had never heard of it until tonight, and was unaware that it was a vocal work until I sat down and saw the soprano set up. Well, actually, the program notes indicated it was clearly a vocal piece. Anyways, quite a little set. Vintage Ravel, with the distinct sounds and pairings. Oh, and that middle _Aoua!_ movement. Woah.

*Messiaen* _Quartet for the End of Time_

Another one that was on my bucket list. The performers were fantastic, nothing wrong with it. But I will say, they did not take the *Praise for the Eternity* or final movement _infinitely slow_. And I had to hold that against them. Because despite that the cramped hall had little ventilation, the lights were dimmed (i.e., not very dark in the theatre, thus making the visuals slightly straining upon the eyes), and too many audience members decided to cough or shuffle during the *Abyss of the Birds*, despite all those annoyances, if anything _needs to be properly executed_, I think it needs to be those two passages (the praises). Technically great, but I could not help but feel it was just a tad, ever-so-slightly quick, and it still went at like, sub-35 bpm.

Diatribe: The performers got a standing ovation. I have stood up naturally in past performances -- as in, I intended to stand and clap _before_ being forced to do so only because others were doing it, and you are thus forced to stand too, else you look like a fool. But I opt to make those a rare occurrence. Because if _everything_ is standing-O worthy, then there is no point for it anymore. A standing O is just an applause, nothing more.

And here, I don't think it was worth a standing compliment. So I wonder how much of that simply had to do with the piece being performed, you know? Because this work is one of those that just _needs_ to be recognized, regardless whether the performance was on-point.


----------



## CyrilWashbrook

I went yesterday to the following concert by the Melbourne Symphony Orchestra:

Sibelius: Valse triste	
Sibelius: Symphony No. 7
Grandage: Percussion Concerto ("Dances with Devils") - world premiere
Ravel: Bolero

The thing that had attracted me to the concert in the first place was Sibelius 7 (one of my favourites). It was quite well-performed. I find the Bolero tiresome so sitting through that was the cost of getting to see it.

To elaborate on the third piece in that line-up: the idea of a percussion concerto is certainly new to me so I was curious to see how it would turn out. It was written by Iain Grandage, an Australian composer who has apparently written a fair number of theatre scores, and performed by Claire Edwardes.

It was very impressive, featuring a large array of instruments - including some rather novel ones - but packaged together in a coherent and convincing manner. The program notes are available here if anybody is interested in reading more about it.


----------



## Proms Fanatic

How do you feel the audience reacted to the Grandage work? I've never seen a world premiere before and I'm interested to see how people react on first hearing.


----------



## CyrilWashbrook

Proms Fanatic said:


> How do you feel the audience reacted to the Grandage work? I've never seen a world premiere before and I'm interested to see how people react on first hearing.


The reaction was overwhelmingly positive, no question. The eclectic solo instrumentation certainly piqued the audience's interest, and it was very well-executed. I thought it was an accessible work and I'm sure it will be tried out by other Australian orchestras.


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## Taggart

Simon Heighes' reconstruction of an evening at a Pleasure Garden was performed with panache by Norwich Baroque with excellent singing by Jayne May-Sysum.

The opening was a short overture from Mr Handel's overture for the Royal Fireworks. Such overtures were designed to settle people down and cover the noise of latecomers. Mr Heighes even had some latecomers provided to make his point. This was followed by two songs from Shakespeare: 
Chilcot's "Orpheus and his lute had a pizzicato background to a recorder melody supporting Ms May-Sysum's singing. 
The second was Arne's "Where the bee sucks", excellently sung and with Mr Hartland on recorder providing suitable owl effects.

Mr Heighes then provided a discussion of the use of fireworks (even in Norwich!) and how Mr Handel's music was used to preface the firework exhibitions. Norwich Baroque then played the Suite for the Royal Fireworks without any brass, which might have been too expensive for a Pleasure Garden.

Mr Heighes then talked about the different styles of music and we had Ms May-Sysum singing Hook's arrangement of "The Highland Laddie" with lots of Scottish snap and Hook's version of "The Lass of Richmond Hill". This had a hornpipe style tune between the verses.

The first half finished with an arrangement of "Zadok the Priest" - mainly concentrating on the "God Save the King" section at the end.

The second half started with Mr Handel's "Arrival of the Queen of Sheba" from the oratorio "Solomon": a good rousing pice to prepare the way for what lay ahead.

James Hook was a Norwich lad who became composer in residence at Vauxhall Gardens in London. In1782 he wrote "The Sultan or A Peep into the Seraglio". This was the same year as Mozart's "Abduction from the Seraglio" - so something was in the air. As Mr Heighes commented, Hook was no Mozart and his writing although tending to the Classical still has Baroque overtones. The song "Blest Hero" was an excellent opportunity for Ms May-Sysum to demonstrate both her technical skills and her great ability to convey emotion.

This was followed by another virtuoso piece Vivaldi's violin concerto RV 335 "the Cuckoo". Mr O'Toole, the director was the soloist in the first movement, Mr Hartland on Recorder in the second and Ms Stroud on violin in the third. It was a fine exhibition of playing and demonstrated the skills and qualities of the group.

We then had two songs from opera which had become standards at the Pleasure Gardens of Georgian London - Shield's "The Milkmaid" about a milkmaid on the make and Arne's "The Miller of Dee". Both were excellently sung by Ms May-Sysum.

The programme finished with Charke's "Medley Overture" from "Harlequin Restor'd". This is a collection of popular tunes of the time arranged in a spot-the-tune medley. It was added to after Charke's death in 1737 as it finished with Arne's "Rule Britannia" and "God Save the King" - the latter sung by Ms May-Sysum. It provided an excellent display of the talents of the ensemble.

For an encore, the ensemble reprised "Zadok the Priest".

Apart from the high quality playing of Norwich Baroque and the excellent singing of Ms May -Sysum, the evening was helped along by the excellent commentary from Mr Heighes - both informative and witty. All in all another hit from Norwich Baroque, Simon Heighes and Jayne May-Sysum.


----------



## MoonlightSonata

A lovely piano trio concert last night - "CLiK the ensemble", consisting of John Chen (piano), Natalie Lin (violin) and Edward King (cello).
In the first half of the concert, each player had a solo piece (or one accompanied on the piano):
Granados - Allegro de Concierto (piano)
Lilburn - Sonata for Violin and Piano
Ginastera - Pampeana No. 2 (cello and piano)
All three of these were wonderfully played.

In the second half, we heard them play as a trio for the first time, playing Schubert's B flat piano trio, which was also beautiful.


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## OldFashionedGirl

Today I went to listen the Costa Rica Symphony Orchestra.
The repertoire was:
Bach - Violin Concerto E major.
Charles Ives - The Unanswered Question 
Shostakovich - Fourth interlude from Lady Macbeth of Mtsensk 
Shostakovich - Symphony 10

*Bach - Violin Concerto E major: *The soloist was the orchestra concertmaster. He played very well, especially in the second movement. He had good support from the orchestra. I didn't like the fact that it was used a keyboard instead of harpsichord. I wondering Why? I heard they have a harpsichord recently restored.

*Charles Ives - The Unanswered Question*: First a woman came to the stage and said a small explication of this piece. I didn't like the explication. I can read the same thing on Wikipedia. Now! The music! I feel the orchestra and the trompetist lacked passion.

*Shostakovich - Lady Macbeth of Mtsensk (Interlude no. 4): *Great playing! This was so bombastic!

*Shostakovich - Symphony no. 10: * Before the symphony the woman who did the Ives piece explication came to the stage, and explain us about Shostakovich struggle with Stalin regime. Suddenly an actor came to the stage acting as Shostakovich. Then the woman said her explication alternating with the actor who did a series of monologues as Shostakovich. My head was in the clouds. So, I didn't pay attention. I just wanted to hear the symphony!!!
Now!! Finally!!! The Symphony!!! The orchestra played really great. In my opinion they were at their best in the three and fourth movements.

I didn't like the audience acttitude. People using cellphone and talking during the concert. I get distracted a lot by it. I wanted to throw my shoes to more than one person in the audience.

My review sucks. I hope getting better with the time. And Improve my english. hehe
In three weeks I'll going to listen a regional orchestra. Their repeirtoire will include Schoenberg!! I think is the very first time that Schoenberg music will be play in my country. I'm excited!!!


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## OldFashionedGirl

Gosh! I did a lot of mistakes! I couldn't edit the post.


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## Itullian

OldFashionedGirl said:


> Gosh! I did a lot of mistakes! I can't edit this!!! I wrote this quickly.


You did great!!!
Gracias!!!


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## Avey

OldFashionedGirl said:


> *Charles Ives - The Unanswered Question*: First a woman came to the stage and said a small explication of this piece. I didn't like the explication. I can read the same thing on Wikipedia. Now! The music! I feel the orchestra and the trompetist lacked passion.
> 
> [...
> 
> *Shostakovich - Symphony no. 10: * Before the symphony the woman who did the Ives piece explication came to the stage, and explain us about Shostakovich struggle with Stalin regime. Suddenly an actor came to the stage acting as Shostakovich. Then the woman said her explication alternating with the actor who did a series of monologues as Shostakovich. My head was in the clouds. So, I didn't pay attention. I just wanted to hear the symphony!!!


Issues with English? No matter! Your points are fantastic. An actor, a person that just recites Wikipedia notes -- we can all relate to this. And that is awful.

Wait, an actor? Like, someone actually came out and said words that were meant to come from Dmitri himself?! That is totally ridiculous. I would be laughing, or just smirking, because I am introverted.


----------



## Avey

*Assorted Chamber + THAT OCTET*
Olympia Music Festival

Ugh, it has been so long! Where is live music? Where is the experience -- aural and human-like?! Good to get out there again...

*Mozart - Trio *

I hate to be so nit-picky, but the cellist was really quiet. Seriously, he was almost inaudible at times, and being --

*WAIT, I have not spoken about the setting!*

OK OK. So, (maybe someone here has been to the Olympic Music Festival) this concert is in a barn. Yes, a traditional, generic, what-you-imagined _barn_. The wood is beautifully withered, the tone is ancient, the temperature is naturally stuffy -- this is the ideal _idyllic_ intimate setting (ha, three *i's*!) So fantastic. I was sitting on haystacks stacked up to the top of the loft, leaning against a wire window. Here is a photo for context:








Anyways, back to the Mozart: The cellist was a tad underwhelming. Other than that, typical Mozart. And this makes me think -- maybe an entirely different thread or blog for myself -- that I may not _like_ Mozart as others do. Yes, he is great. If I want to hear a piece of music that is flawless and just, well, I dunno, _sounds_ pleasing, I may go with W.A.M. But, when I am choosing a piece to listen to on my phone, or my record player, or my CD player, or whatever, I don't ever pick him. That is just me. I like other things. And, gosh, I don't know, I almost feel like this is an admission that demands repent -- ugh, let us move on. I feel bad about saying such things. But I am honest!

*Schubert - Characteristic March in C (Piano Four Hands), D968B*

The entire time I heard this, I was trying to think "What other piece does this resemble -- i.e., what does that sound remind me of?" Help me! Please, I still cannot figure it out. Bugging me.

*Stravinsky - Divertimento from Fairy's Kiss*

Never heard this piece before. And every time I get to hear a new Stravinsky piece, which is becoming rarer as time rolls along, I should cherish it. Because I think I am addicted. This contained a _scherzo_ and an opening "sinfonia, danse suisses," as the notes called it, which was precious. The power was wholly novel, totally Stravinsky. And by that, I mean unique. Nothing sounds like what he wrote. The performer, Tessa Lark, absolutely made it. Ugh, gosh, going to listen to this in full right now...

(One more!)
*Mendelssohn - Octet*

This is why you attend. Another one on my bucket list. And hearing it in its rough, pastoral form -- not to say he wrote it to invoke nature or simplicity, but just how it sounds without being cleaned up with a computer or expensive microphone -- this was truly an experience. The lead violinist, admittedly, was hurried, in my opinion, failing to take her time with the solo pulses at the preeminent points in the opening movement. But otherwise, the performers, all fellows and young musicians (young is a misnomer, right, because they like have years under their belt), were on-point. I felt myself moving and evoking, which I am not prone to do (for others' care). But I was in the back, way up in the loft, behind everyone -- so 'eff the movements, I let loose! I was rocking back and forth, vibrating, conducting in my own internal way. This sort of music does that to you, duh!

Oh, and like, the *Octet*, speaking of music, is profoundly moving. I don't think I can even attempt to explain it. Foremost, because I already wrote WAY TOO MUCH


----------



## OldFashionedGirl

Avey said:


> Issues with English? No matter! Your points are fantastic. An actor, a person that just recites Wikipedia notes -- we can all relate to this. And that is awful.
> 
> Wait, an actor? Like, someone actually came out and said words that were meant to come from Dmitri himself?! That is totally ridiculous. I would be laughing, or just smirking, because I am introverted.


Yeap!! It was like that. 
Here's a photo of the actor acting as Shosty.


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## Avey

OldFashionedGirl said:


> Yeap!! It was like that.
> Here's a photo of the actor acting as Shosty.
> View attachment 74087


Seriously, totally absurd. I have never seen something like this. So concerted and artificial. *ARE WE NOT HERE TO JUST LISTEN TO MUSIC?!* Please, help us.


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## papsrus

OldFashionedGirl said:


> Today I went to listen the Costa Rica Symphony Orchestra.
> The repertoire was:
> Bach - Violin Concerto E major.
> Charles Ives - The Unanswered Question
> Shostakovich - Fourth interlude from Lady Macbeth of Mtsensk
> Shostakovich - Symphony 10
> 
> (...)
> 
> My review sucks. I hope getting better with the time. And Improve my english. hehe
> In three weeks I'll going to listen a regional orchestra. Their repeirtoire will include Schoenberg!! I think is the very first time that Schoenberg music will be play in my country. I'm excited!!!


It is a great review! Thanks. BTW, you mention "in my country." Where was this concert?


----------



## OldFashionedGirl

papsrus said:


> It is a great review! Thanks. BTW, you mention "in my country." Where was this concert?


It was in Costa Rica.


----------



## Taggart

This was billed as the highlight of Norwich Baroque 2015 season. It lived up to all the hype and was an outstanding concert. One wonders what Norwich Baroque can do for an encore next year - which will be their 10th Anniversary. There was an excellent mix of Bach - old favourites and less well known ones - designed to highlight the skills of the various performers.

We started with the Violin Concerto in A Minor (BWV 1041). From the start it was obvious that Rachel Podger was driving Norwich Baroque to new heights. Her own excellent playing and sparkling personality enthused the whole ensemble. This was followed by _Vergnügte Ruh, beliebte Seelenlust_ (BWV 170) sung by Michael Chance with Joel Raymond on oboe as well as an organ accompaniment. Michael Chance was in fine voice and this was also excellent. The first half finished with Rachel Podger in the pulpit playing her own transcription of BWV 1013 (for solo flute in A Minor) for violin in G Minor. It was 15 minutes of pure seraphic playing. Absolutely marvellous, the stunned silence before the audience burst into applause at the end just showed how moved we all were.

The second half began with Brandenburg 3 (BWV 1048) - played with 3 violins, 3 violas and 3 cellos plus continuo of harpsichord and double bass. Rachel Podger led and was superb. It was fascinating to watch her interaction with the other players and her enthusiastic response to them. This spurred them on to produce an incrediible performance. Rachel Podger played an excellent solo cadenza for the (short) second movement. We then had two short pieces - _Schließe, mein Herze, dies selige Wunder_ (from BWV 248) and _Schließe, mein Herze, dies selige Wunder_ (from BWV 132) - both for alto \ counter-tenor and violin. This gave Michael Chance and Rachel Podger the opportunity to show off their talents. Both were in excellent form. We then had The concerto for oboe and violin in C Minor (BWV 1060). This was an opportunity for Joel Raymond to show what an excellent player he is on the Baroque Oboe (of his own construction - wow!). Joel and Rachel Podger thrilled us throughout the piece. We finished with the aria _Ebarme Dich_ from Matthäus-Passion (BWV 244). This was another opportunity for Michael Chance and Rachel Podger to enthral us with their skills.

All in all an outstanding concert. Great soloists in excellent form inspiring Norwich Baroque to new heights in the lovely setting of Norwich Cathedral.


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## Balthazar

This weekend I was able to attend an informal concert featuring faculty from the University of Michigan's School of Music. Chris Harding on piano was joined by Adam Unsworth on horn and Aaron Berofsky on violin. The Debussy violin sonata was out of this world. And a full performance of _Kreisleriana_ is always a treat.

*Schumann ~ Kreisleriana, Op. 16.*

*Beethoven ~ Sonata for Horn and Piano, Op. 17.

Schumann ~ Arabeske, Op. 18.

Debussy ~ Sonata for Violin and Piano, L 140.*


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## Pugg

I was at The Concertgebouw / Amsterdam listening to:
September 27 th

Musici
*Joseph Moog* (piano)
Programma
*Beethoven -* Fantasia, op. 77
*Tsjaikovsk*i - Sonate in G, op. 37
*Godowsk*i - Symphonische Metamorphosen über Johann Strauss' Die Fledermaus
*Lisz*t - Deux légendes, S. 175, LW A219
*Liszt* - Hexaméron, S. 392 Grandes variations de bravoure sur la marche des Puritains de Bellini

Stunning young pianist:tiphat:


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## Radames

I was in little Glens Falls Sunday for Brahms: Piano Concerto No. 2, with Francois Dumont, and Nielsen: Symphony No. 3, Sinfonia Espansiva. Don't hear that Nielsen much. But I'm hearing it again in November in Springfield.


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## MoonlightSonata

Michael Houstoun (piano), _Inspired by Bach_

Bach: Partita in Bb
Roy Harris (NZ composer): Fugue
Lilburn (also NZ composer): Chaconne
Rachmaninov: Suite from Partita in E Major, after JS Bach
Shostakovich: Prelude and Fugue in D Minor
Liszt: Fantasy and Fugue in G Minor, after JS Bach

All wonderful pieces, and I think the Harris work was commissioned specifically for this concert series. I particularly enjoyed the last work - Liszt's piano adaption of a Bach organ work.


----------



## Skilmarilion

Belated review ...

September 2nd
2015 Proms, Royal Albert Hall, London
Royal Scottish National Orchestra, Peter Oundjian, Igor Levit (piano)

*Messiaen*: Hymne
*Mozart*: Piano Concerto No. 27
*Bruckner*: Symphony No. 7

This was a stellar concert from start to end. I had seats relatively close-in to the orchestra's right, which was great. I saw Mahler's 9th at the Proms last year (2014) and felt a little bit distant from the action.

Hymne: hadn't heard it before, and it was tremendous. The delicacy of the writing for strings in this piece is really, really nice. The climax towards the coda is powerful, almost Brucknerian, which was appropriate I thought.

Concerto: I think the 27th is one that grows on you. It feels almost refined, perhaps even restrained compared to many of the earlier concertos, but is no less expressive and touching. I was particularly struck by the beauty of the passages for flute. Levit was awesome in a true no bull**** performance.

Symphony: first time hearing Bruckner live. Really great. Oundjian shaped the opening really well I thought. The Wagner tubas in the adagio were top notch. I was surprised that there was a cymbal and a triangle used in the big climax of this movement. Not sure which exact edition was being performed, but I was unaware that one even existed with the triangle. Scherzo - performed well, but felt more trivial than usual live. Finale: well-judged, with great contrast between the folk-like string lines and the more powerful brass fanfares.


----------



## joen_cph

There´s been a *Thomas Adés *festival here in Copenhagen, due to his receiving of the major Sonning Music Prize, thereby joining an esteemed row of composers and musicians https://en.wikipedia.org/wiki/Léonie_Sonning_Music_Prize

Went to a superb chamber concert yesterday, even free, in the old concert house of the public broadcasting house, now used for the classical music conservatory and various concerts.

The programme was excellent: *Abrahamsen*´s 10 Preludes for string quartet, *Adés* 1.String Quartet, his Traced Overhead for piano, and his Piano Quintet.

Adés was present himself and joined as a pianist, and the young Danish String Quartet played superbly too, all the instruments having a beautiful warm and very rich sound in the hall. I´ll be listening to all the works again, they felt surprisingly accessible, quite romantically coloured, and yet modern. But I´m pretty sure that the Kontra Quartet recording of the Abrahamsen piece is less good than the one I heard yesterday.


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## nightscape

Saturday, October 10th 2015
Philadelphia Orchestra
Yannick Nézet-Séguin - Conductor
Gil Shaham - Violin

*Grieg* - Suite No. 1 from Peer Gynt
*Bartók* - Violin Concerto No. 2

INTERMISSION

*Sibelius* - Symphony No. 5


----------



## Haydn man

Wednesday 14th October in Manchester
Dresden Philharmonic 
Michael Sanderling -Conductor
Sol Gabetta -Cello

Wagner Overture Die Meistersinger
Elgar Cello Concerto
Beethoven Symphony No 3

I thought the Elgar was excellent with a committed and emotional performance by soloist and orchestra. The cello concerto always evokes images from WW1 in my mind, and I find this piece moves me. My wife by contrast does not really like the cello concerto and feels it is an uneven work and a bit of a letdown after the first movement. I take her point but do not agree with her on this one.
The Beethoven was for me a good, fairly standard performance of a work I enjoy
Overall good stuff


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## omega

*Schoenberg*
_Moses und Aron_
Philippe Jordan (cond.)
Roméo Castellucci (staging)
Thomas Johannes Mayer (Moses) | John Graham-Hall (Aron)
Orchestre et chœurs de l'Opéra National de Paris










An unusual experience... Of course, there was Schoenberg's music. What is the most important: the _idea_ or its _shape_, its _representation_? Maybe I misinterpretated this key issue of the opera, but I think this question also applies to the music: it might sound disturbing, but isn't is simply the shape of the _*idea of art*_?
The staging was very contemporary, very surprising (and, unfortunately, I did not understand all of it...). Have you ever seen a cow on a stage - yes, a real cow, alive?
And, last but not least, the Opéra Bastille: an impressive concert hall!


----------



## Mahlerian

omega said:


> An unusual experience... Of course, there was Schoenberg's music. What is the most important: the _idea_ or its _shape_, its _representation_? Maybe I misinterpretated this key issue of the opera, but I think this question also applies to the music: it might sound disturbing, but isn't is simply the shape of the _*idea of art*_?
> The staging was very contemporary, very surprising (and, unfortunately, I did not understand all of it...). Have you ever seen a cow on a stage - yes, a real cow, alive?
> And, last but not least, the Opéra Bastille: an impressive concert hall!


How was the audience reception of the work?


----------



## omega

Very enthousiastic for the musical part.
As for the staging, the stage director was boohed by a some people, ans heavily applauded by others. Which seems to be common with such artistic choices...
A man asked me after the concert if I had "survived", explaining that "old people do not like this type of performance. They have no culture". 

If you live in a country of the EU or the EFTA, here his the link to the recording of the opera:
https://www.operadeparis.fr/live/moses-und-aron
(opera starts at about 2:56:00 ; applause & boohing of the stage director at 4:53:20 and beyond).

:tiphat:


----------



## Mahlerian

Unfortunately, I am on the other side of the Atlantic and cannot partake.

But you should hear about last year's bizarre take on the work in Wales for an idea of how bad it might have been...

http://www.standard.co.uk/goingout/...a-royal-opera-house-opera-review-9632161.html


----------



## omega

Mahlerian said:


> Unfortunately, I am on the other side of the Atlantic and cannot partake.
> 
> But you should hear about last year's bizarre take on the work in Wales for an idea of how bad it might have been...
> 
> http://www.standard.co.uk/goingout/...a-royal-opera-house-opera-review-9632161.html


For sure as bizarre as last night...

A few articles (none of them is in English, I'm afraid ) about the subject. It is reported by the press as a "successful première".
An article from the Kurier (in German)
A very interesting interview of the stage director from Libération (in French)


----------



## Mahlerian

I stumbled through the German article and got a bit of an idea of what it was like.


----------



## Avey

*Copland, WAM, LvB*
Northwest Sinfonietta

Opening rant: Music director/conductor had (plenty of) words to say before each piece, which I am not huge fan of. Not that I don't appreciate the more "human-side" of the performance -- i.e., these musicians should not be automatons that record and repeat the music -- but when the conductor speaks for almost 10 minutes (!) about the first piece, you get anxious and tired of his obvious need to lecture about history and whatnot. And that is great. I love the background, too. But let us shorten the details to like 5 minutes at most, because honestly, no one in the audience is going to retain any of the material you are relaying.

*Copland* - Music for Theatre

I was unfamiliar with this piece before this concert (which I admit makes my opening rant seem unfitting and snobbish), so I got the rare opportunity to just sit and listen and take the piece in anew, without prior judgments. Fascinating work, especially for how early he wrote it, because the string passages seem to come right out of his later period. The rhythm and dance though clearly of the times (e.g. The _Rite_, etc.). (Also, the opening solo _alllmost_ quotes Mahler 5th, almost.) (jk, don't get mad at me.) (but really, sort of kind of.)

*Mozart* - Piano Concerto No. 20

One of the minor two! The slow movement being an obvious hallmark, I could not help but recognize how many great melodies are scattered throughout this work.

*Beethoven* - Symphony No. 8

I had not heard this symphony in a long time, and I forget how tightly written it is. All those long, broad symphonies before (and the one after) this, and the 8th just appearing alongside the stalwart 7th, seemingly effusive with joy and spirit. The chamber setting, something I had not heard one of his works in, was quite fitting for this work. No clue how the chamber orchestra would work with the other symphonies -- 6th would probably be great.


----------



## omega

Mahlerian said:


> I stumbled through the German article and got a bit of an idea of what it was like.


At last, _The Guardian_ published its report!
http://www.theguardian.com/music/2015/oct/21/moses-und-aron-bastille-opera-romeo-castellucci-arnold-schoenberg


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## Vaneyes

"Castellucci, no stranger to theatrical bestiary, brought on stage a real live golden calf - a bull, actually. He was a beauty: a huge, temperate Charolais ox, weighing in at a ton and a half, accompanied by two handlers, and not especially excited by either naked dancers or Schoenberg's spiky score."

Noseplugs for Romeo's creations...

http://www.theguardian.com/stage/2011/apr/19/romeo-castellucci-concept-face-son


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## omega

*Tchaikovsky*
_Romeo et Juliette - Ouverture-Fantaise_

*Prokofiev*
_Piano Concerto No.5_
Solist: Nicholas Angelich

*Stravinsky*
_The Firebird [1945 version]_

Orchestre Philharmonique de Radio France
Krzysztof Urbanski


----------



## Vaneyes

omega said:


> *Tchaikovsky*
> _Romeo et Juliette - Ouverture-Fantaise_
> 
> *Prokofiev*
> _Piano Concerto No.5_
> Solist: Nicholas Angelich
> 
> *Stravinsky*
> _The Firebird [1945 version]_
> 
> Orchestre Philharmonique de Radio France
> Krzysztof Urbanski


Oh yes, rub it in.


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## TurnaboutVox

BRIDGEWATER HALL, MANCHESTER Thursday October 2015
*
Mozart - Symphony No.35, 'Haffner', K385
Mark-Anthony Turnage - Piano Concerto (2013) UK premiere
Stravinsky - The Rite of Spring*

Ryan Wigglesworth conductor | Marc-André Hamelin piano



> In his first concert as the Hallé's Principal Guest Conductor, Ryan Wigglesworth conducts Stravinsky's iconic The Rite of Spring (Le Sacre du printemps). The concert also features the much-anticipated UK premiere of the jazz-inspired piano concerto by one of Britain's leading composers, Mark-Anthony Turnage.


The Mozart ymphony and the 'Rite' were splendid. The Turnage concerto I found a little odd - it seemed more like a work for solo piano with occasional orchestral accompaniment. Still - I'd need to hear it again before I could pass any judgement.


----------



## Taggart

Norwich Baroque wanted to show their depth of home-grown talent and succeeded with this concert. They picked a selection of three (and four) violin pieces to show off the skills of Jim O'Toole (their director), John Crockatt and Rachel Stroud. We are well used to the excellence of Jim and John - less used to Rachel, so we were particularly struck by her spirited playing.

The first piece by Wassenaer was well played but did not catch our imagination. The Telemann was excellent -lively and spritely. The final piece of the first half was a concerto for 3 violins "The quest for the impartial cadence" written by their harpsichord player David Morgan. This was cleverly constructed and skilfully witty (if not quite our cup of tea).

The second half started with some Locatelli (Concerto Grosso Op. 1 No. 2) - well played but a little bland. The evening finished with two contrasting pieces. Bach BWV 1064R and Vivaldi RV580 - L'estro armonico, Op.3 No 10. The Bach is actually a concerto for three harpsichords (in C major) which has been re-arranged for three violins (in D major). The Vivaldi is a piece which was later reworked by Bach into the Concerto for Four Harpsichords and Strings, BWV 1065. Mr O'Toole attributed BWV1064R to Christopher Hogwood - I have also seen it attributed to Wilfried Fischer who reconstructed it in 1970. BWV 1064R was played by the three solo violins supported by violas, cellos and continuo. It was a rousing performance. The Vivaldi was for four violins so the trio were joined by Philip Yeeles. Philip proved an able soloist. The final piece was spirited, lively, enthusiastic - Vivaldi at his best!

An excellent concert which showed that Norwich Baroque have an incredible depth of talent and can put on an impressive performance.


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## KenOC

Just got back from watching "Rent," a musical, at the La Mirada Theatre. This was a very sophisticated professional production of about three hours, with ticket prices to match. Fortunately there was plenty of free parking, and the theater (recently restored to glory) was very nice. My daughter-in-law was in the main cast.

It's one of those musicals with constant music, constant songs, sophisticated ensemble pieces, and lots of volume. But after it's over, I can't recall a single tune. I do recall that it was a warm-hearted comedy on the themes of AIDS, poverty, prostitution, homelessness, and drug addiction.


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## senza sordino

Vancouver Symphony Orchestra, conducted by Bramwell Tovey. He spoke at the beginning of the concert, for about 5 minutes. He has a very dry British sense of humour. 

Stravinsky Pulcinella Suite

Rachmaninov Rhapsody on a Theme of Paganini, soloist Anne-Marie McDermott

Poul Ruders Paganini Variations (Piano Concerto no 3), soloist Anne-Marie McDermott. Ruders was in the audience and came to take a bow after the piece was finished. 

Sibelius Symphony no 7


I really enjoyed this concert, so entertaining. I love Pulcinella and I was humming it all the way home. The Ruders piece starts off where Rachmaninov finishes, romantic, and takes it much much further. Very interesting, I really was fascinated, and enjoyed it immensely. So did the audience. 

This year I'm sitting upstairs. I don't really like it. The view is better, but there is less leg room, and it's warmer. When I sit downstairs I can really only see the strings, soloist and conductor. I have become aware sitting upstairs that many audience members who sit upstairs do so for the view, they can hear the music played when they can see the music played. If they can see the bassoon playing, they can hear the bassoon. Etc. I don't need to see the performer to hear the performer having plenty of orchestra experience listening and playing. Just an observation.


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## Guest

KenOC said:


> Just got back from watching "Rent," a musical, at the La Mirada Theatre. This was a very sophisticated professional production of about three hours, with ticket prices to match. Fortunately there was plenty of free parking, and the theater (recently restored to glory) was very nice. My daughter-in-law was in the main cast.
> 
> It's one of those musicals with constant music, constant songs, sophisticated ensemble pieces, and lots of volume. But after it's over, I can't recall a single tune. I do recall that it was a warm-hearted comedy on the themes of AIDS, poverty, prostitution, homelessness, and drug addiction.


The free parking sounds great!


----------



## Huilunsoittaja

Last night, I went to hear Glazunov for the first time performed professionally (but not first time ever, as I've heard him played at school by various students). Choral concert with added instrumental/vocal miniatures.

Whole program, pieces below each name (copying from site):
*
Jean Sibelius*_______________________ *Alexander Glazunov*
Festive March, JS 105__________________Romance de Nina, Op. 102
Finlandia Hymn, Op. 26____________________ Meditation, Op. 32
Glade of Tuoni, Op. 18, No. 6__________________*Dietrich Buxtehude*
Four Songs, Op. 50__________________Cantata: Der Herr ist mit mir, BuxWV 15
Romance, Op. 78, No. 2_____________________*Johan Helmich Roman*
____________________________________Concerto for Oboe d'amore in D major
*Carl Nielsen*____________________________________*Edvard Grieg*
Two Motets, Op. 55: Dominus regit me____________Wedding Day at Troldhagen, Op. 65, No. 6
Benedictus Dominus_________________________________*Wilhelm Stenhammar*
Romance & Humoresque, Op. 2_____________________________September

The violinist, soprano, and pianist were the best performers. I'm glad for that too, to play Glazunov poorly is UGH! But he was well performed. A guy yelled "Bravo!" really loud at the end of the Romance de Nina, no doubt a Russian or a Glazunovian. I felt comforted to know even in my hometown, I am not alone.


----------



## Milan

What - Beethoven's 9th

Who - Vojvodina Symphony Orchestra & Choir

Where - Novi Sad's Synagogue


My first post here btw, hello friends. Greetings from Serbia.


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## SixFootScowl

Tonight I attended the Chicago Symphony Orchestra with Riccardo Muti conducting Beethoven's Fifth and Mahler's First. Was at Hill Auditorium on the University of Michigan campus. Absolutely wonderful concert.


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## CyrilWashbrook

Went last night to this concert from the Melbourne Symphony Orchestra, conducted by Nicholas Milton.

Gershwin: An American in Paris
Ravel: Piano Concerto
Saint-Saëns: Symphony No. 3

A few of Gershwin's shorter compositions were performed as an encore.

A really enjoyable concert. Together with Nielsen's Fourth earlier this year, seeing the Saint-Saëns live means that I can now cross two items off my bucket list. (There was one conspicuous messy entry in the finale but that's just a quibble.) It was also nice to be positioned in the balcony adjacent to the orchestra, as opposed to my usual spot at the very back of the hall.


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## Avey

*Beethoven's 1st PC*
Seattle Symphony

*Stravinsky* - Symphony in C

I am looking forward to the day where Stravinsky's music -- outside the _Rite_ -- is the main event, and not merely an opening piece or smaller "complement" to the program. His works are so unique and entertaining, especially considering the _visual_ performance value. With his unrivaled mastery of rhythm and the preeminent ability to highlight individual instruments, putting them all on display, his music is most appropriate for the stage. The standard repertoire needs waaay more Stravinsky.

*Beethoven* - PC #1

I am not too familiar with LvB's first or second piano concertos, but I know I have heard them in the past. The performance was terrific, unsurprisingly, but I was a bit underwhelmed with the work itself. Probably naive and unjustifiably critical, but the work has clearly not divorced itself of the classical _feel_ -- that is, the work does not sound too far off from Mozart. That is, the piece lacks that individual Beethoven sound. That is, I was left sitting there thinking how this piece lacks that particular _gravitas_ I have come to hear (maybe subjectively) in Beethoven's music. I know this concerto is actually the second he wrote, but I am amazed that even the third, only three years after, sounds much more original in style.

Program annoyance: Also, what is up with orchestras organizing their program where like 75% of the run time is set _before_ intermission?! I don't particularly like intermissions, so take this for what it is worth -- but if we have been through an hour-plus of music, and we have 25-30 minutes left, why the hell are we taking a 15 minute break? In the least, the program should be reorganized -- put the two smaller pieces to start, longer one after intermission. Such incongruity. Incredibly frustrating.

*Mozart* - No. 41

I think this is the third time hearing this piece in concert. Still, the best performance I heard was a college orchestra on a Tuesday, with like 50 people in the crowd, and way way too many strings on stage. This performance here felt dull, like this was the hundredth time they played this piece (which is probably is) and they just had to go through the motions, etc.

Also, some cat next to me was headbanging to this music. Totally ridiculous.

Only now as I am revising before posting do I note how critical and angry I sound. But I am not! Being critical is just easier to write about then _Blahblahblah another fantastic performance It SOUNDED GOOD etc etc_


----------



## Vaneyes

*Yundi Li* implodes in Korean concert.

http://www.koreaherald.com/view.php?ud=20151102001046


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## Vaneyes

Demidenko @ St. John's Smith Square (review).

http://www.classicalsource.com/db_control/db_concert_review.php?id=13229


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## Vaneyes

Arditti @ Wigmore (review).

http://www.classicalsource.com/db_control/db_concert_review.php?id=13238


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## Avey

*From the Tower* - Martinu, Kancheli, and Brahms
Seattle Symphony

*Martinu* - Symphony No. 4

Of Martinu's symphonies, I had only heard the first. And for whatever impression I had when I heard that work -- which is admittedly absent, due to how long ago it was or just not being particularly interested in his music at that time -- I know it pales in comparison to coming out of this performance.

Of course, my opinion may be skewed, since I am most familiar with Martinu's chamber repertoire, all of which I enjoy very much. So listening to this symphony live, I kept hearing all these wonderfully minor melodies and unexpected tones rising out from the corners and center of the orchestra. The harmonies were mesmerizing, ranging from the immense to the minute (n.b. the largo's duet). The rhythm captivated in moments, then shook you in the next. In other words, the music was incredibly lush, almost like a Ravel piece. Totally enthralled with it.

Also, that _scherzo_ may be the greatest thing I have ever heard in person. That thing is tremendous and alive. Listening to the work now through speakers just feels dull and bland.

*Kancheli* - Nu.Mu.Zu

Recently commissioned piece from a Georgian composer (lives in Belgium now, exiled). Very fascinating work. Started a little slow, but quite a rush in toto.

I purposefully left the pre-concert discussion of the piece because I did not want to hear the "programmatic" scope of the work. Seriously, rant #211, why do all contemporary pieces have to have a program associated with it? I don't think I have ever seen a contemporary work live where either the program notes, the composer himself, some scholar, etc. did _not_ relay what the music _represents_ and is meant to _evoke_. Do they fear publication of pure music without a story today? I just do not understand it. Where is our 21st Century Brahms?!

*Brahms* - Violin Concerto

Oh, there he is. Still sounding fresh.

Renaud Capucon was the soloist. Impeccable, as expected really. I only realized, as I attended last night, that his brother is Gautier Capucon, the cellist. I saw his name and was trying to recall if I had seen him or what -- but no, I just watch his brother's work on Youtube a lot. Funny how their facial mannerisms during play are almost identical. Lot of talented blood in that family.


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## Radames

Avey said:


> *
> 
> Martinu - Symphony No. 4
> 
> Of Martinu's symphonies, I had only heard the first. And for whatever impression I had when I heard that work -- which is admittedly absent, due to how long ago it was or just not being particularly interested in his music at that time -- I know it pales in comparison to coming out of this performance.
> 
> Of course, my opinion may be skewed, since I am most familiar with Martinu's chamber repertoire, all of which I enjoy very much. So listening to this symphony live, I kept hearing all these wonderfully minor melodies and unexpected tones rising out from the corners and center of the orchestra. The harmonies were mesmerizing, ranging from the immense to the minute (n.b. the largo's duet). The rhythm captivated in moments, then shook you in the next. In other words, the music was incredibly lush, almost like a Ravel piece. Totally enthralled with it.
> 
> Also, that scherzo may be the greatest thing I have ever heard in person. That thing is tremendous and alive. Listening to the work now through speakers just feels dull and bland.*


*
Lucky you! I have only heard #6 in concert and that was years ago. $ is a great work. I would love to hear 4 or 5. The finale of 5 would go over well with the crowd I'm sure.

I got to hear the rarely performed Tamara tone poem by Balakirev on Halloween in Montreal. All the musicians dressed up. Nagano came out to conduct - dressed regularly - paused for a second, then turned to the audience and said "I'm having trouble concentrating!"*


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## Guest

Carducci String Quartet.

Haydn Quartet Op. 33 No 2, Shostakovich No 4 and Schubert No 14.

Great playing, just before them playing Washington DC!

http://www.carducciquartet.com/


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## BlackKeys

Next week I get to hear Rachmaninoff's 2nd piano concerto live for the first time along with Sibelius' Lemminkäinen Suite. So excited!


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## gHeadphone

Rattle and the Berlin Phil are playing Beethoven Symphonies in New York next week, Im considering a ticket but its almost $200 !!!!


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## DavidA

gHeadphone said:


> Rattle and the Berlin Phil are playing Beethoven Symphonies in New York next week, Im considering a ticket but its almost $200 !!!!


I certainly wouldn't pay that to hear Rattle conduct Beethoven!


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## gHeadphone

Still, ill never hear the likes in Ireland for a long time so it may be worth spending a little less on my sons Christmas present ;-)


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## Pugg

13 NOV 2015.
Main hall
Het Concertgebouw

*Chamber Orchestra of Europe*

*Bernard Haitink -conductor
Gautier Capuçon - cello*
Program :

R. Schumann - First symphony op. 38 'Frühling'
R. Schumann - Cello concert in a, op. 129
R. Schumann - Fourt symphony in d, op. 120

The concert was fantastic , we also had a meet and greet with mister Caupucon,
all very well until the news broke about the horrible criminal attacks in Paris .

The mood swung completely (very understandable)


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## papsrus

DavidA said:


> I certainly wouldn't pay that to hear Rattle conduct Beethoven!


I would, and seriously considered it. They just finished the cycle in Berlin, so it's all available at the Digital Concert Hall.


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## CyrilWashbrook

Tonight I went to this concert by the Melbourne Symphony Orchestra, celebrating the 150th birthdays of Sibelius and Nielsen:

Sibelius: Finlandia
Nielsen: Violin Concerto
Sibelius: The Swan of Tuonela
Sibelius: Symphony No. 5

Conducted by Yan Pascal Tortelier. The violin soloist was Kolja Blacher. This was probably my last MSO concert for a while. It featured two of my favourite composers and three of my favourite works (the latter three listed), so I was very much looking forward to it. The performances were uneven but it was enjoyable nonetheless.

(1) *Finlandia*. Competently performed.

(2) *Nielsen*. There was an unplanned ten-minute interval about halfway through the first movement. The soloist was just embarking on the cadenza in the first movement when he had to bring it to a halt, because of persistent and clearly audible alarms coming from outside. The venue has since tweeted that that there was a "technical issue at a restaurant in the precinct".

Putting the interruption aside: the Nielsen is certainly among the more technically demanding violin concertos and Blacher acquitted himself well. Somewhat less impressive was the ensemble, which was not always unified within itself or with the soloist. It is admittedly a dicey work, but a number of tempo changes and entries were executed less cleanly than one would expect from this orchestra. I can only speculate, but I suspect that the orchestra would have benefited at certain points from clearer guidance from Tortelier.

(3) *Tuonela and the Fifth*. The second half of the concert was more successful - and free of unexpected interruptions. I don't have a tremendous amount else to say, except that both works were well-executed and it was particularly nice to hear the symphony live.


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## Avey

*Mahler Ten*
Seattle Symphony

Another one off the bucket list -- the entire work, that is. Cooke version.

Odd, for how many dozen times I have heard this work, only just now listening to it performed live did I pick on, how do you say, _incomplete_ some passages of this work are. This is obvious, I know, but given Cooke's marvelous work, the performing version is wonderfully constructed. So, surprisingly, hearing this now, I noted certain passages that were clearly lacking in final edits. For instance, in the first scherzo (landler), after the theme is repeated a few times through the orchestra and the violins state a melody that will eventually end the movement (typically just over a minute in), the instrumental parts seem to start running over one another, like the notes don't match and meet (i.e., bizarre counterpoint). The page in draft score looks like this:









-which makes me feel a little better about my opinion. I often wonder whether I make this junk up -- my critiques and judgments -- but maybe sometimes they are fair.

The end of the scherzo, however, has always felt genuinely Mahler, and the orchestra confirmed that for me.

I was sad when there was a break between _purgatorio_ and the second scherzo; those blend most appropriately.

The audience notably shook when the first drum came through, and then I heard muffled chuckling and shifting, like when some _fffff_ pizzicato is played and people laugh like its cute or supposed to be funny. A little disappointing when people are laughing after a bang like that comes on and this low, damning and dark choral line from the horns is playing -- and people were just chuckling. What?

And after spending like 15 minutes trying to figure out what the notes are -- and being glad I finally know -- I must say that the F#-C#-G# chord that begins the final string section is immortal, breaking ordinary boundaries and shedding words, vision, or knowledge. Just a chord. A real, enduring chord.


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## nightscape

Saturday, November 28th 2015
Philadelphia Orchestra
Gianandrea Noseda - Conductor
Simon Trpceski - Piano

*Rossini* - Overture to The Thieving Magpie
*Rachmaninoff* - Rhapsody on a Theme of Paganini, for piano and orchestra

INTERMISSION

*Casella* - Symphony No. 2 (U.S. premiere)


----------



## TurnaboutVox

Huddersfield Contemporary Music Festival - Saturday November 28th

*Quatuor Diotima*
YunPeng Zhao violin
Constance Ronzatti violin
Franck Chevalier viola
Pierre Morlet cello

*Pierre Boulez - Livre pour Quatuor Parts 1a and 1b*
(replaced Daniel Fígols Cuevas Azoth, world premiere, at the last minute)
*Dieter Ammann - String Quartet No 2, Distanzenquartett
Thomas Simaku - String Quartet No 5* world premiere
*Heinz Holliger - String Quartet No 2*



> Following on from the success of their world premiere performance of Thomas Simaku's String Quartet No 4 at the 2011 Festival, hcmf// 2015 sees Quatuor Diotima premiere the Albanian composer's String Quartet No 5 - commissioned by hcmf// especially for the quartet.


The Quatuor Diotima were superb, an ensemble in wondrous synchrony. The Dieter Amman piece was particularly well brought off, and would have been our pick of the concert, except that the last movement of Heinz Holliger's Quartet #2, which I didn't know, was an extraordinary fusion of instrumental timbres and the players' vocalise, so that by the end you could barely tell which sounds and pitches were coming from where. So that was the high point of their recital for me.


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## TurnaboutVox

Huddersfield Contemporary Music Festival - Saturday 28 November

*Solitaire* UK premiere
Mirt (synthesiser)

*In Dialogue with Eugeniusz Rudnik* UK premiere
Maja S K Ratkje (voice / electronics)



> Over the last five years Foundation 4.99 and Bôlt Records have become leading institutions in Polish experimental music. The focus on the rich yet unexplored tradition of Polish avant-garde music together with insights into the new scene proved fruitful. Among the label's main projects is the Polish Radio Experimental Studio series of albums combining re-mastered and de-noised archival recordings from the Studio and their new reinterpretations by world famous musicians such as zeitkratzer, John Tilbury, Thomas Lehn, Lionel Marchetti and many others.
> 
> These pieces by Maja S K Ratkje and Mirt have been conceived within the framework of the Eastern Waves project organised by Foundation 4.99, dedicated to the long history of collaboration between Polish and Norwegian electronic music composers, mainly in the Polish Radio Experimental Studio. Polish synthesiser constructor and experimental usician Mirt and Norwegian voice virtuoso Maja S.K. Ratkje were commissioned to reinterpret compositions by Arne Nordheim and Eugeniusz Rudnik, resulting in two CD releases and concerts in Poland, Norway, Serbia, Germany, France and Belgium.
> 
> Produced by hcmf// in partnership with Foundation 4.99 / Bôlt Records; supported by the Adam Mickiewicz Institute as part of the Polska Music programme; also supported by the Norwegian Embassy


Weird sounds. I'm not at all sure what to make of these two performances (is this contemporary _classical _music?) but both were hypnotic and quite an experience. Huddersfield CMF - expect the unexpected!


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## Eramirez156

*Chanticleer Christmas*

Last night, as part of the CSO season, presented by Symphony Center, *Chanticleer* performed at Fourth Presbyterian church.

















Great way to begin the Christmas Season.


----------



## Vaneyes

Avey said:


> *Mahler Ten*
> Seattle Symphony
> 
> Another one off the bucket list -- the entire work, that is. Cooke version.
> 
> Odd, for how many dozen times I have heard this work, only just now listening to it performed live did I pick on, how do you say, _incomplete_ some passages of this work are. This is obvious, I know, but given Cooke's marvelous work, the performing version is wonderfully constructed. So, surprisingly, hearing this now, I noted certain passages that were clearly lacking in final edits. For instance, in the first scherzo (landler), after the theme is repeated a few times through the orchestra and the violins state a melody that will eventually end the movement (typically just over a minute in), the instrumental parts seem to start running over one another, like the notes don't match and meet (i.e., bizarre counterpoint). The page in draft score looks like this:
> 
> View attachment 78006
> 
> 
> -which makes me feel a little better about my opinion. I often wonder whether I make this junk up -- my critiques and judgments -- but maybe sometimes they are fair.
> 
> The end of the scherzo, however, has always felt genuinely Mahler, and the orchestra confirmed that for me.
> 
> I was sad when there was a break between _purgatorio_ and the second scherzo; those blend most appropriately.
> 
> *The audience notably shook when the first drum came through, and then I heard muffled chuckling and shifting, like when some fffff pizzicato is played and people laugh like its cute or supposed to be funny. A little disappointing when people are laughing after a bang like that comes on and this low, damning and dark choral line from the horns is playing -- and people were just chuckling. What?*
> 
> And after spending like 15 minutes trying to figure out what the notes are -- and being glad I finally know -- I must say that the F#-C#-G# chord that begins the final string section is immortal, breaking ordinary boundaries and shedding words, vision, or knowledge. Just a chord. A real, enduring chord.


A not uncommon reaction some display after being startled. I probably would've screamed.


----------



## Avey

*French Connection*
Seattle Symphony

*Debussy - Danse sacree et danse profane*

I feel like I hear the _danse profane_ in my dreams, as if it has been in my head since I was born. I do not think that is an uncommon or totally unrecognizable feeling.

*Ravel - La Valse*
_Previously *Messiaen - Poemes pour m*i_

_Pathetic, overwrought, selfish rant_: The soprano was "indisposed." They find a sub for the Requiem, I suppose.

I do not dislike _La Valse_, but it sits among some of the (abused) standard orchestral performing repertoire -- like _Til Eulenspiegel_, _1812_ -- that I have little interest in going out of my way to listen to live. So, not necessarily the best feeling to see, when you arrive, a pink slip in the program that mentions Messiaen is being substituted, and not for Poulenc, Franck, Bizet, or Faure, but for *Ravel *-- and not chamber-set Ravel, or a ballet suite, but that one piece everyone knows, _La Valse_.

Though the *Messiaen *was not _why_ I drove up for an hour in the torrential rain -- not singularly the reason at least -- I often avoid concerts because of filler material like this. _La Valse_ is a great work. I remember it was one of my favorites some years ago. I still recognize its appeal. But concerts are not inexpensive, and not always close to home, nor are they always good -- this is to say, any given concert is a commitment, I feel, and one that any person can have reasonably justifiable expectations of what they are expecting to see.

I go through a lot of personal doubt and indecision leading up to the concert, whether to purchase that or this ticket, whether to actually drive that far, whether I feel like driving that far, whether I will be stuck next to the loud breather, etc. But when I commit, I am in; there is anticipation and anxiety.

Arriving to realize, however, that you will listen to _La Valse_ for the hundredth time is not healthy. And my frustration with hearing this work on the radio all the time, or on every other concert program, is confirmed by the fact that the orchestra was able to switch into _La Valse_ mode allegedly that very morning. Then they nail it. These are impeccable musicians, but still, had they not played this piece dozens of times, the transition is not so smooth or obvious.

_Inconsistent conclusion_: The thing was just a bummer. Though, had the orchestra substituted another Messiaen piece, or Poulenc or something, well, now it's a party, and I'm all giddy with excitement -- like, Hey I wasn't expecting this. What a great pick! That was fun!

*Faure - Requiem*

The work has yet to affect me similarly to those who label the Requiem Faure's greatest achievement, and maybe even French music's great capstone. Similarly, the work has yet to affect me like my neighbor, who was crying within five minutes into the piece, and cried throughout.

The _sanctus_ was amazing, though -- immediately memorable. _In paradisum_ has the most unique organ melody. There is an almost electronic/synthesizer feel to it.


----------



## nightscape

Saturday, December 5th 2015
Philadelphia Orchestra
Yannick Nézet-Séguin - Conductor
Hilary Hahn - Violin

*Bizet* - Suite No. 1 from Carmen
*Vieuxtemps* - Violin Concerto No. 4

INTERMISSION

*Stravinsky* - The Firebird (complete ballet)


----------



## papsrus

Avey said:


> (...)
> 
> I go through a lot of personal doubt and indecision leading up to the concert, whether to purchase that or this ticket, whether to actually drive that far, whether I feel like driving that far, whether I will be stuck next to the loud breather, etc. But when I commit, I am in; there is anticipation and anxiety.
> 
> Arriving to realize, however, that you will listen to _La Valse_ for the hundredth time is not healthy.
> 
> (...)


Man, I agree with this. And if you're making the effort to travel some distance, as you did, it becomes even more of "an event." Well, it's an event anyways. But live music is always a little bit of a roll of the dice. There's a lot of variables in play and you go in knowing the experience could be sublime or annoying, depending on a lot things. When the program changes at the last minute without advance notification, it would put you in an irritable mood from the start.

But, you make the best of it, I suppose. If they didn't give you some advance notice in the form of an email, I'd register my displeasure.


----------



## papsrus

Jerry Bilik -- Symphony in M-L (world premiere)

Sibelius -- Violin Concerto in D Minor, Op. 47

Beethoven -- Symphony No. 3 (Eroica)

Perry So conducts the Sarasota Orchestra with Leila Josefowicz, violin

Van Wezel Performing Arts Hall



First concert of the season for me. 

The Bilik piece was a tribute to violinist and Bartok student Tibor Serly. Bilik studied with Serly at some point before going on to compose music for stage productions, marching bands, TV shows, as well as some modern 'classical' compositions. He now lives in this area and had revised the piece specifically for this performance, its first.

The three-movement symphony was written using a variation of the 12-tone method developed by Serly. Had kind of a cinematic feel to it with a beautiful second movement that veered toward Romantic. First movement was angular and a little haunting and the third was blustery and forceful. 

The whole thing came off reasonably well and Bilik took a bow on stage afterward. Very excited -- almost like a little kid. A nice moment as the performance of the piece was clearly moving for him. As an aside, Bilik also premiered a piece during last spring's La Musica chamber music festival here, so he is evidently being embraced by the local music community. 

It was the first time I'd heard the Sibelius concerto. Sibelius apparently composed this piece to be as technically difficult as possible. Those familiar with the music will know more about that than I. Not really my thing, but Josefowizc was entertaining and clearly handled the piece with skill and enthusiasm.

The Beethoven was good, not great. They reconfigured things during intermission for this with a greatly expanded string section -- in fact the entire orchestra seemed to be strings, although sitting fourth row, center, I admittedly didn't have a great view of the back of the orchestra. There were some brass and woodwinds back there somewhere. 

The performance was workmanlike and professional, but they didn't reach that next level that one hopes for, particularly with this piece. A war horse but a war horse that can be transcendent. It was enjoyable for sure, just not on the level of a performance I'd enjoyed last winter by the Cleveland Orchestra in Miami -- and of course there's no reason to expect that it would be. A few very minor horn flubs along the way didn't help. 

A fine concert. Nothing extraordinary, just pleasant enough to make it worthwhile.


----------



## Huilunsoittaja

I went to see Handel's _Messiah _last night, local performance. My mom sang alto in the choir. It's annual tradition of the choir, and my mom's been there a long time, so that means I've heard _Messiah _maybe 8 times by now in my short life. It's always a little different: the selected soloists make a big difference, and the quality of the choir can range. I thought it was all very good this year. The baritone had a cold and cracked his voice a little, but I was sorry for him rather than angry. He was a good singer, so it wasn't his fault.


----------



## omega

*Joonas Kokkonen*
_"... durch einen Spiegel..."_

*Magnus Lindberg*
_Cello Concerto No.2_
Cellist: Anssi Karttunen

*Einojuhani Rautavaara*
_Requiem in Our Time_

*Jean Sibelius*
_Symphony No.6_

Mikko Franck conducting the Orchestre Philharmonique de Radio France

A truly marvellous concert. I did not know the first two pieces, and I really enjoyed them.
A few amusing details: Mikko Franck sat while conducting; Anssi Karttunen read his score on an iPad (!); both Magnus Lindberg and Esa-Pekka Salonen were in the audience.
I think I liked every snippet of this Finnish evening.


----------



## Classical Music Fan

Saturday December 12, 2015
Los Angeles Chamber Orchestra
Peter Oundjian - Guest Conductor
Simone Porter - Violin
*Bela Bartok*
Divertimento for String Orchestra, SZ. 113 (1939)
*Felix Mendelsohn *
Violin Concerto in E minor, Op. 64 (1838-44)
INTERMISSION
*Ludwig van Beethoven*
Symphony No. 4 in B-flat major, Op. 60 (1806)

An Amazing Concert Overall. The Bartok was somewhat new for me but the Mendelssohn and the Beethoven are favorites. During the pre concert the conductor hold how he sung in a choir as a boy under Benjamin Britten and later was asked to conduct by Herbert von Karajan.


----------



## omega

*Berlioz*
_La Damnation de Faust_

_Faust_ Jonas Kaufmann
_Mephistopheles_ Bryn Terfel
_Marguerit_ Sophie Koch
_Brander_ Edwin Crossley-Mercer
Sophie Claisse

Orchestre et Choeurs de l'Opéra national de Paris
Maîtrise des Hauts-de-Seine / Choeur d'enfants de l'Opéra national de Paris
Philippe Jordan









Very good conducting. Excellent choir. Exquisite cast. Deplorable staging.
Annoying - and to my mind irrelevant - images continuously shown on a screen; a parallel between Faust and Stephen Hawking, between hell, heaven and the conquest of Mars; very good but again irrelevant choregraphy...
But closing your eyes while Kaufmann is singing nature's awakening is priceless!


----------



## Biwa

I went to see Tchaikovsky's The Nutcracker ballet yesterday afternoon. It's been a while since I've seen it. How magical! The past couple of years I have been revisiting ballet mostly Russian. I am looking forward to more in the new year. :tiphat:


----------



## Huilunsoittaja

Biwa said:


> I went to see Tchaikovsky's The Nutcracker ballet yesterday afternoon. It's been a while since I've seen it. How magical! *The past couple of years I have been revisiting ballet mostly Russian. * I am looking forward to more in the new year. :tiphat:


Does that include R-R-R-R-R_-Raymonda?_


----------



## Biwa

Huilunsoittaja said:


> Does that include R-R-R-R-R_-Raymonda?_


The ballets I've seen recently in their entirety are Tchaikovsky's The Sleeping Beauty, Swan Lake, The Nutcracker; and Prokofiev's Cinderella. It's funny that you mentioned Raymonda, though... because I am planning on seeing a New Year's Gala ballet performance next month which includes the 3rd Act of 
R-R-R-R-R-Raymonda.:tiphat:


----------



## Huilunsoittaja

Biwa said:


> The ballets I've seen recently in their entirety are Tchaikovsky's The Sleeping Beauty, Swan Lake, The Nutcracker; and Prokofiev's Cinderella. It's funny that you mentioned Raymonda, though... because I am planning on seeing a New Year's Gala ballet performance next month which includes the 3rd Act of
> R-R-R-R-R-Raymonda.:tiphat:


WHAT?!! ENJOYYYYY! It's Glazunov's 150th birthday anniversary year, if you mark it starting August 10, 2015 to August 10, 2016.


----------



## Biwa

Huilunsoittaja said:


> WHAT?!! ENJOYYYYY! It's Glazunov's 150th birthday anniversary year, if you mark it starting August 10, 2015 to August 10, 2016.


WOW! I completely missed that it was his anniversary year. Thanks for bringing that up! It'll be even more special now. 
I'm also thinking about seeing Don Quixote in the spring and Carl Davis's Aladdin.


----------



## Avey

*Beethoven's Ninth*
Seattle Symphony

I am cognizant of my tendency to criticize performances, knowing a number of recordings (or even _other_ performances) that inform my opinion. But, at the same time, if no one critiques the performance, then we have an audience giving a standing O at every performance -- *WHICH WE DO NOWADAYS*, but I have already complained about that. Ridiculous phenomena - for real, we _cannot_ be standing at every soloist or general concert performance, else the standing O means nothing. C'mon people! I trust you all judge fairly and are aware that a standing O should not be a habit.

Anyways, my point being: *This was one of the weakest live concerts I have ever seen.* I told my brother this, who was attending maybe the third(?) classical performance he had witnessed. His comment was "Well, I don't know enough about whether it was good or not. But it seemed fine."

And I like that. If people enjoyed it, that was a success. But, here I go, having to explain why I _disliked_ the hour+, sounding like a buffoon, a troglodyte condemning certain bombastic, or "grotesque", or what was that word, ah yes, *ATONAL* works in the 20th Century. Ugh, well, the problems:

1. The tenor was absolutely disastrous. He had absolutely no power or presence. His first solo ("_Froh..._") was drowned out by...well, nothing! He should be projecting and dominating that section, and yet, the entire time, I was wondering whether he forgot the words. It was _that_ indecipherable. Truly alarming.

2. They took a break between the _adagio_ and the finale. The chord was played after a full minute of coughing, tuning(!), and footsteps -- yes, because...

3. The soloists had to walk out after the _adagio_, because... no reason.

4. The second "chaos" chord, if you will -- which begins the finale -- that repeats the exposition, but enter vocals ("_freude_"), was maybe a half-second. Absolutely devoid of passion.

5. The crowd was forced to applaud the soloists who entered after the _adagio_, thereby breaking up whatever semblance of continuity we had. Which, to credit, was absent here.

6. In the quick horn solo (the scale) in the _adagio_, the player hit nothing but air for the first two notes. I feel bad, but still, this fits in my gripe.

7. When I bought the tickets, it was only LvB's Ninth. When we showed up, they included an intermission. The first two pieces were _Hansel and Gretel Overture_ and _Fantasia on a Theme_. When I read this: "Are you XXXXXXX kidding me? 11 XXXXXXX minutes and we have an intermission. This is a XXXXXXX money-grab by the hall and orchestra, half-assing two works that they have played maybe a dozen or so times, just to get people to buy more wine and booze at the intermission." My brother's response: "..."

8. Also, despite that, the soloists couldn't appear until _after_ the third movement, which again, was not _immediately_ followed by the chord, but instead, given a break, whereby the audience clapped, people walked out, and there was no fluidity to this work.

9. Why didn't we just have the chorus wait until the fourth movement, maybe walk out and organize themselves _while the music was playing_, since the orchestra clearly had little desire to create any sort of continuity or form to this piece.

10. I forgot: Yeah, _Hansel and Gretel Overture_ and that one VW piece I had never heard fit _so well_ into this program. Those themes mesh together -- fantasy and universal brotherhood. Remarkable organization.

11. Two people were sitting in our seats when we got there and acted like they were surprised. Yeah, you know that feeling.


----------



## Vaneyes

Avey said:


> Beethoven's Ninth
> Seattle Symphony
> 
> I am cognizant of my tendency to criticize performances, knowing a number of recordings (or even _other_ performances) that inform my opinion. But, at the same time, if no one critiques the performance, then we have an audience giving a standing O at every performance -- WHICH WE DO NOWADAYS, but I have already complained about that. Ridiculous phenomena - for real, we _cannot_ be standing at every soloist or general concert performance, else the standing O means nothing. C'mon people! I trust you all judge fairly and are aware that a standing O should not be a habit.
> 
> Anyways, my point being: This was one of the weakest live concerts I have ever seen. I told my brother this, who was attending maybe the third(?) classical performance he had witnessed. His comment was "Well, I don't know enough about whether it was good or not. But it seemed fine."
> 
> And I like that. If people enjoyed it, that was a success. But, here I go, having to explain why I _disliked_ the hour+, sounding like a buffoon, a troglodyte condemning certain bombastic, or "grotesque", or what was that word, ah yes,ATONAL works in the 20th Century. Ugh, well, the problems:
> 
> 1. The tenor was absolutely disastrous. He had absolutely no power or presence. His first solo ("_Froh..._") was drowned out by...well, nothing! He should be projecting and dominating that section, and yet, the entire time, I was wondering whether he forgot the words. It was _that_ indecipherable. Truly alarming.
> 
> 2. They took a break between the _adagio_ and the finale. The chord was played after a full minute of coughing, tuning(!), and footsteps -- yes, because...
> 
> 3. The soloists had to walk out after the _adagio_, because... no reason.
> 
> 4. The second "chaos" chord, if you will -- which begins the finale -- that repeats the exposition, but enter vocals ("_freude_"), was maybe a half-second. Absolutely devoid of passion.
> 
> 5. The crowd was forced to applaud the soloists who entered after the _adagio_, thereby breaking up whatever semblance of continuity we had. Which, to credit, was absent here.
> 
> 6. In the quick horn solo (the scale) in the _adagio_, the player hit nothing but air for the first two notes. I feel bad, but still, this fits in my gripe.
> 
> 7. When I bought the tickets, it was only LvB's Ninth. When we showed up, they included an intermission. The first two pieces were _Hansel and Gretel Overture_ and _Fantasia on a Theme_. When I read this: "Are you XXXXXXX kidding me? 11 XXXXXXX minutes and we have an intermission. This is a XXXXXXX money-grab by the hall and orchestra, half-assing two works that they have played maybe a dozen or so times, just to get people to buy more wine and booze at the intermission." My brother's response: "..."
> 
> 8. Also, despite that, the soloists couldn't appear until _after_ the third movement, which again, was not _immediately_ followed by the chord, but instead, given a break, whereby the audience clapped, people walked out, and there was no fluidity to this work.
> 
> 9. Why didn't we just have the chorus wait until the fourth movement, maybe walk out and organize themselves _while the music was playing_, since the orchestra clearly had little desire to create any sort of continuity or form to this piece.
> 
> 10. I forgot: Yeah, _Hansel and Gretel Overture_ and that one VW piece I had never heard fit _so well_ into this program. Those themes mesh together -- fantasy and universal brotherhood. Remarkable organization.
> 
> *11.* Two people were sitting in our seats when we got there and *acted like they were surprised*. Yeah, you know that feeling.


That's why I always carry a SHAME flag for such usurpers. They deserve the recognition.


----------



## nightscape

Saturday, January 9th 2015
Philadelphia Orchestra
Fabio Luisi - Conductor
Christian Tetzlaff - Violin

*Glinka* - Overture to Ruslan and Lyudmila
*Tchaikovsky* - Violin Concerto

INTERMISSION

*Tchaikovsky* - Symphony No. 6 ("Pathétique")


----------



## bharbeke

I went to an all-Mozart event at the Phoenix Symphony this weekend. Here are my impressions:

Overture to The Marriage of Figaro: This sounded fantastic, and it was a great beginning to the show. It seemed to come to an end all too soon, which is one mark of a good piece for me.

Piano Concerto No. 20: This performance was not as good as I hoped. When I had heard this piece on the radio, I thought it was excellent. The soloist here played Beethoven's cadenza for the first movement and his own for the third. Note to soloists: if you can't make your cadenza as good as Beethoven's, then you should play your own for both or someone else's for both. Inviting comparisons to one of the best is rarely wise, unless you are also demonstratably one of the best. Whatever greatness I had heard on the radio was just not there this time around. Nothing was actively bad, but it did have me fighting off sleep.

Intermission

Serenade No. 13 "Eine kleine Nachtmusik": This was the standout piece of the night. The piece may be overexposed in both pop culture and classical music, but this performance proved to me that even music that I am a little tired of can be brilliant when properly performed. The first movement is the absolute best version I have ever heard, and the second was not far behind. The third and fourth movements were also well done, and I have raised my overall opinion of the piece based solely on this performance.

Symphony No. 39: I like the middle two movements a lot. The first is just average for Mozart. The fourth is where the piece falls apart a little for me. There is no discernible, hummable melodic line. It just sounds like a flurry of strings to me.

My audience gave standing ovations to the concerto and symphony. I felt like giving one to the serenade, but I am not going to lead one from the second section when nobody in the front section is standing. Sometimes, it seems like the Phoenix audience stands just because they are moving out to the lobby for intermission or to their cars at the end of the night, so they might as well get up a little early. Maybe my tastes just did not line up to the majority's this time.


----------



## Avey

bharbeke said:


> Symphony No. 39: I like the middle two movements a lot. The first is just average for Mozart. *The fourth is where the piece falls apart a little for me. There is no discernible, hummable melodic line. It just sounds like a flurry of strings to me*.


OH MY GOD WAHHT?



bharbeke said:


> My audience gave standing ovations to the concerto and symphony. I felt like giving one to the serenade, but I am not going to lead one from the second section when nobody in the front section is standing. Sometimes, it seems like the Phoenix audience stands just because they are moving out to the lobby for intermission or to their cars at the end of the night, so they might as well get up a little early. Maybe my tastes just did not line up to the majority's this time.


The standing O has quickly degenerated into a mockery. Early exit, group think, overreaction, lack of discretion.


----------



## bharbeke

I was being a bit hyperbolic when talking about the fourth movement. I listened to another version of it this morning, and I can definitely hear the seven-note rising and falling motif being played. I just do not like it very much.


----------



## Dawood

I recently saw a concert of Mozart's final symphonies conducted by John Elliot Gardiner. Mister Gardiner was certainly a winner with the crowd. He gave extracts from the music he was just about to conduct so as to make some loose points about how great Mozart was. Personally I'd rather he has just got on with it.

The one thing I took away from this - which I want to rectify (hopefully) is that Mozart's symphonies came across as very repetitive. Oh - listen - that's a nice tune. Oh - there it is again. Right - here it comes again. No, really - that tune again? Now, I've never noticed this before. Was it because I was watching it with my wife who isn't a fan, so I was more conscious of the music from someone else's point of view: 'mmm, there's that theme again - I hope this is isn't winding her up' - or was it that the way the music was performed simply brought greater attention to the repeating of themes?

I don't know. But I'm going to listen to Symphony no.40 right now (as conducted by Marriner) just to see how it comes across. It's not scientific but then again what is..? Well, science for one but that's by-the-by...

EDIT: Well, I've given Symphony no 40 a run through because that's the one which 'irritated' me the most and I think Marriner brings more a sense of dynamic difference (or something) to the structures than were in the live performance on Friday. I certainly get no sense of the same themes dryly returning with no difference in tension or presentation: like it was on a loop or something. Thank you Marriner for giving me back the faith.


----------



## Balthazar

I attended a recital of University of Michigan faculty and graduate students (and a couple undergrads I believe) this weekend.

These concerts are always interesting as they often include works rarely heard in performance. The first half was solo piano, the second was voice with piano accompaniment. The Previn and Shostakovich were new to me.

*Schumann ~ Humoreske, Op. 20*

*Rachmaninoff ~ Variations on a Theme of Corelli, Op. 42*

*Rossini ~ Cruda sorte from L'Italiana in Algeri* (for mezzo-soprano)

*Shostakovich ~ Six Romances on Words by British Poets* (for bass-baritone)

*Previn ~ Honey and Rue* (for soprano)

*Mahler ~ Rückert Lieder* (for mezzo-soprano)


----------



## Guest

I heard pianist Denis Matsuev tonight in San Francisco. Oh. My. God. I'm not sure how long it will take to recover from his performance of Stravinsky's "3 Movements from Petrushka"!! I've never heard such an intense and hair-raising performance. People even applauded during the climax of the second movement. The first half was Tchaikovsky's "The Seasons," and the second half began with Schumann's "Kreisleriana," also brilliantly played, and concluded with the Stravinsky. He played 4 encores: Liadov's "The Music Box," one I didn't recognize, Scriabin's Etude Op.8 No.12, and an absolutely insane jazz improvisation.


----------



## Judith

Saw a wonderful concert at Leeds Town Hall last weekend. Royal Liverpool Philharmonic Orchestra conducted by Vasily Petrenko. Soloist Boris Giltburg. Playing Tchaikovsky Shostakovich Prokofiev and Khachaturian. Just amazing.


----------



## papsrus

Orpheus Chamber Orchestra

Van Wezel Performing Arts Hall

Haydn -- Symphony No. 1 in D Major; Mozart -- Piano Concerto No. 20; Khatia Buniatishvili, piano; Arensky -- Variations on a Theme by Tchaikovsky; Rachmaninoff -- Suite No. 2 for Two Pianos (arranged for orchestra)

Great concert, excellent orchestra.

Each of the four pieces required a different size and configuration for the orchestra. The concert taken as a whole was a little bit like a trip through time, beginning with Haydn and Mozart, then moving to Arensky (a student of Rimsky-Korsakov) and ending with Rachmaninoff.

The Haydn symphony may not have actually been his first, the notes explained, because of the somewhat sketchy nature of the chronology of his early works. The symphony, more developed than a No.1 typically might be, was filled with wonderful counterpoint, a second movement for strings only that was just beautiful, and lovely soloing here and there along the way. A great piece beautifully performed.

Khatia Buniatishvili was all in for the Mozart Piano Concerto No. 20, accompanied by a somewhat smaller gathering of the orchestra. Best way to describe her is a very sensual player. She was definitely feeling it. I wondered beforehand how the whole thing would fit together with piano, and orchestra, and no conductor, but it all worked in this sort of organic natural way, with nods and smiles among the musicians, and Khatia doing her thing at the piano.

The second part of the concert was fully uncharted territory, but the highlight of the evening for me was the Arensky piece, written as a tribute to Tchaikovsky just after he had passed away. The seven variations and coda are based on Tchaikovsky's song "Legend" No. 5 from "Sixteen Children's Songs." A bit of a complicated lineage there (and there's actually a string quartet arrangement along the way as well that the piece is based upon), but ... in the end, just a beautiful piece. I've already ordered a CD of this piece by the Moscow State Symphony Orchestra.

The final Rachmaninoff was, as the title says, a piece for two pianos arranged for orchestra. Probably the least interesting for me -- all broad, sweeping bowing and grand gestures. I couldn't help hearing it as program music, as if it was a sound track to a Fantasia type of thing. Lovely enough, and beautifully played, just a bit of a step down from the other pieces that preceded it.

An excellent evening of music all around, for sure.


----------



## omega

*Richard Strauss*
_Capriccio_

Emily Magee - Benjamin Bernheim - Lauri Vasar - Lars Woldt
Ingo Metzmacher
Orchestre de l'Opéra National de Paris


----------



## Guest

Kurtág
Signs, Games and Messages

Dohnanyi
Serenade

Mozart
Divertimento


Moricosta String Trio


An enjoyable performance and the introductions to the pieces were helpfully informative too (e.g. we were told how very quiet the Kurtág pieces were; so we were all dutifully quiet as church mice – not a single sweet wrapper rustle!). Like a true heretic I preferred the Kurtág and Dohnanyi to the Mozart.


----------



## iwys

I've started keeping a database of all the concerts I attend. It saves having to look through piles of programmes. These are the latest entries:

2015 April 17. Barbican Hall. New York Philharmonic, Joyce DiDonato, Alan Gilbert. Salonen: Nyx; Ravel: Sheherazade, Valses Nobles et Sentimentales; R. Strauss: Rosenkavalier suite: R. Strauss: Morgen; Tchaikovsky: Swan Lake suite

2015 May 17. Royal Festival Hall. Philharmonia Orchestra, Daniil Trifonov, Vladmir Ashkenazy. Sibelius: Nightride & Sunrise; Rachmaninov: Piano Concerto No.3; Sibelius: Symphony No.5 in E flat

2015 May 18. Queen Elizabeth Hall. Takacs Quartet, Marc-Andre Hamelin. Debussy:String Quartet in G minor Op.10, Preludes Bk.2 Nos. 4,5,6,7,11 &12; Franck: Piano Quintet in F minor

2015 June 5. Royal Festival Hall. Philadelphia Orchestra, Lisa Batiashvili, Yannick Nézet-Séguin. Nico Muhly: Mixed Messages; Shostakovich: Violin Concerto No.1; Tchaikovsky: Romance song transcription for violin; Rachmaninov: Symphony No.3, Vocalise

2015 June 10. Royal Opera House. La bohème. Anna Netrebko, Joseph Calleja, Lucas Meachem, Jennifer Rowley, Simone del Savio, Marco Vinco, Jeremy White, Donald Maxwell, Luke Price, Dan Ettinger

2015 July 5. Royal Opera House. Guillaume Tell. Gerald Finley, John Osborn, Malin Bystrom, Alexander Vinogradov, Sofia Fomina, Enkelejda Shkosa, Nicolas Courjal, Eric Halfvarson, Michael Colvin, Enea Scla, Samuel Dale Johnson, Michael Lessiter, Sir Antonio Pappano

2015 July 9. Royal Opera House. Falstaff. Ambrogio Maestri, Ainhoa Arteta, Roland Wood, Anna Devin, Luis Gomes, Agnes Zwierko, Kai Ruutel, Peter Hoare, Alasdair Elliott, Lukas Jakobski. Michael Schønwandt

2015 November 22. St. John’s Smith Square. Jerusalem Quartet. Haydn: String Quartet No.1 in G Op.77 No.1; Bartok: String Quartet No.6 B119; Dvorak: String Quartet in F op.9 ‘American’

2016 January 1. Royal Opera House. Cavalleria Rusticana & Pagliacci. Eva-Maria Westbroek, Yonghoon Lee, Elena Zilio, Dimitri Platanias, Marina Belli, Kritian Benedikt, Carmen Giannattasio, Benjamin Hulett, Dionysios Sourbis, Sir Antonio Pappano

2016 January 12. Turner Sims. Navarra Quartet. Mozart: Quartet No.1 in G K80; Haydn: Quartet No.25 in C Op.20 No.2; Beethoven: Quartet No.14 in C sharp minor Op.131

2016 January 28. Royal Festival Hall. Philharmonia Orchestra, Håkan Hardenberger, Santtu-Matias Rouvali. Sibelius: Lemminkäinen's Return Op.22 No.4; Rolf Martinsson: Trumpet Concerto No.1 ‘The Bridge’; Sibelius: Symphony No.2 in D major Op.43


One of my aims for this year is to see performances of all of the Sibelius symphonies. The young Finnish conductor Santtu-Rouvali's performance of the 2nd with the Philharmonia was a good start. I have never seen a conductor dance so much on the podium before, but he brought out the lyrical almost 'waltz-like' qualities of the symphony, which I'd never really noticed before. Another Finn, Osmo Vänskä is conducting all of the Sibelius symphonies with the LPO later in the year so I'm looking forward to that.


----------



## perempe

was my yesterday the longest day ever?

11:00-14:00 Falstaff (Opera House)
to MüPa (Mendelssohn-Schumann-marathon)
15:00 Mendelssohn - The Hebrides, Schumann - Symphony No. 4
16:00 Schumann - Kinderszenen (excerpts), Mendelssohn - Cello Sonata No.2, Op.58
17:00 Mendelssohn - Symphony no. 3 "Scottish"
back to Opera House
19:30- 21:20 Edita Gruberova concert
(+ 4 hours of travel)


----------



## Guest

JS BACH
Gamba Sonata No. 3 in G minor, BWV 1029

PROKOFIEV	Cello Sonata in C, Op.119 (1949)

RACHMANINOV Cello Sonata in G minor, Op.19

Performed by Michael Petrov and Alexander Ullman. In a chapel too; excellent acoustics.


----------



## gHeadphone

Went to see Ivan Volkov in the Royal Festival Hall in London on the 2nd.

It was a great program - Roslavets: In the hours of the new moon which id never heard before, then Ravels Piano Concerto in G and finished by a powerful Shostakovich 5th. 

It was a great night and a beautiful venue (if only we had it in Dublin, no matter what Simon Rattle thinks). The Ravel was particularly beautiful.


----------



## Eramirez156

*Dsch book ends*

Last night at Symphony center









The youthful exuberance of the 1st made up for the disjointed nature of the 15th.


----------



## Gordontrek

Last night I went to the Huntsville Symphony's pops concert of music from the James Bond films, with guest artist Hilary Kole. Fun program, but I was largely unimpressed with Kole; she sang well but had a rather weak voice that was frequently getting drowned out by the orchestra even with a mic. Plus, she just could not communicate with the audience; said "um" too much, tripped over her words, used the phrase "I digress" about 4 times. She seemed somewhat nervous the whole time. I think she has a lot of talent though, and with work I think she'll eventually have a very good act. 
The orchestra was fantastic though, as always.


----------



## Cheyenne

I just returned from the Pražák quartet playing Haydn's Op 77 No. 1, Beethoven's Op 59 No. 2 and, fascinatingly, Bruckner's String Quartet in C minor. The latter was remarkably nice. The Haydn was played with great fervour -- I especially loved the Trio, and found it sad they skipped the repeats (so I only heard it once). I've always found Beethoven's second Razumovsky quartet a little dull at the start, but the last movement always makes up for that, and the Pražáks certainly delivered there. Great concert!


----------



## TurnaboutVox

Thursday 11th February 2016
The Bridgewater Hall, Manchester

Rachmaninov - Isle of the Dead
Mahler - Kindertotenlieder
Shostakovich - Symphony No.15, Op. 141

Hallé Orchestra, Sir Mark Elder, conductor
Roderick Williams, baritone

Very enjoyable. I hadn't heard the Rachmaninov work before (it's certainly worth hearing again), but I'm very familiar with the other two pieces here. Roderick Williams' sung German seems impeccable and the orchestral textures were spare and clear. Kindertotenlieder moved me to tears, as it always does. The 15th is my favourite of Shostakovich's symphonies and here it received a lucid performance. Sir Mark Elder told us that there were no records of it being performed by the Hallé Orchestra before and so no-one was quite sure if it had been or not.


----------



## Templeton

Attended the Liverpool Philharmonic Hall, on 11th February for:

Mozart Violin Concerto No.5 ‘Turkish’
Bruckner Symphony No.9

Royal Liverpool Philharmonic Orchestra
Sir Andrew Davis conductor
Esther Yoo violin

I thought that the Bruckner was simply outstanding, the best that I have heard the RLPO perform. The 9th is a huge beast of a piece, with an enormous orchestra and multiple layers but I thought that it came together beautifully, heavenly I would say and I think that Bruckner would have approved. It's occasions such as this, when I truly appreciate the importance of a live performance over a recording. At the climax, I just wanted to jump out of my seat and show my appreciation but unfortunately etiquette prevented me from doing so; what a pity.

The violin concerto was much lighter and very well performed by Ms Yoo but the Bruckner was definitely the highlight, not just of the evening but probably the entire season. Very well attended too, which was a pleasant surprise, so maybe we can expect more Bruckner, in the future. Let's hope so.


----------



## Taggart

Saturday 13th February Norwich Baroque at Norwich Central Baptist Church

Duelling Trumpets with Crispian Steele-Perkins and Simon Munday.

Manfredini - Concerto for 2 Trumpets in D major
Corelli - Sonata in D - Steele-Perkins
Schein - Banchetto musicale no 6 
Stradella - Il barcheggio Part II - Munday 
Vivaldi - Concerto in C for 2 Trumpets

Vivaldi - Concerto in D for 2 Trumpets
Torelli - Sonata G1 - Munday
Dall'Abaco - Op5 No2 Concerto in 7 parts
Purcell - Sonata for Trumpet in D - Steele-Perkins
Franceschini - Concerto in D for 2 Trumpets

The Baroque trumpet can be exquisite but can be (very occasionally) somewhat gnarly. We were treated to a feast of fascinating Baroque Trumpet music from two masters of the art. They played a range of pieces from the more familiar - Vivaldi, Corelli, Torelli - to the less familiar - Stradella, Franceschini. Mr Munday joked that "if you don't like D major and trills then you're in the wrong place." The choice of pieces was excellent and allowed then to display their talents.

The Schein was a departure for Norwich Baroque. Schein was cantor at the Thomasschule zu Leipzig (the same as Bach) in the early 17th Century. The piece was written for viols in the 1620's and adapted for 18th century strings. It was an excellent interlude between the trumpet pieces.

The Stradella was a virtuoso display and Mr Munday had to take a break before the first of the Vivaldi pieces. This allowed Mr Steele-Perkins to talk about the design of baroque and other natural trumpets. No matter how often you've seen it, his playing of Handel's Water Music using a baroque mouthpiece and a piece of hosepipe is still very funny.

In the second half we had more Vivaldi then Mr Munday performed in Torelli's Sonata G1. I would rate it A1.

The Dell'Abaco for strings was a natural progression - he was a pupil of Torelli. Norwich Baroque played it very well.

Mr Steele-Perkins then played a Purcell sonata. This had been discovered at York Minster in 1951. He showed Purcell's genius for harmony in this piece.

The concert finished with a Franceschini concerto. Franceschini is slightly earlier than Purcell and is noted for his use of the trumpet in church music, blending it skilfully with the voice. It provided a fitting finale for the evening


----------



## Cheyenne

This Friday I was at the royal concert hall with Manfred Honeck conducting the RCO in Beethoven's 7th and Mahler's Lieder from "Das Knaben Wunderhorn" with Matthias Goerne singing. Wonderful concert. Also, the south podium was filled with young people, as a youth orchestra from New Jersey was spending their last day of a tour here to hear the concert! I've never heard the last movement from Beethoven's 7th performed so fast, 'man was aching for the break...!


----------



## Classical Music Fan

Saturday February 20, 2016
Los Angeles Chamber Orchestra
Matthias Pintscher - Guest Conductor
*Gabriel Faure*
Pavane, Op. 50 (1887)
*Arnold Schoenberg*
Chamber Symphony No. 2, Op. 38 (1939)
INTERMISSION 
*Joseph-Maurice Ravel*
Ma mere l'oye (Complete Ballet) (1908-11)
*Ludwig van Beethoven*
Symphony No. 8 in F major, Op. 93 (1806)
An amazing concert. The Beethoven is a favorite but even though the Mother Goose and Schoenberg are somewhat new to me I think I will be listing to them more in the future. The Chamber Symphony No.2 is highly underrated and should be performed more often. Also next season has been announced and even though it is Jeffrey Kahane's last season it has many highlights including: Beethoven's symphonies 3,7, and 9 :Mozart's Prague and final piano concerto; Brahms second piano concerto; Mendelssohn's Scottish and Schubert's Great.


----------



## perempe

yesterday's concert at the Opera House (Budapest):
Budapest Philharmonic Orchestra
Lawrence Foster (Guest Conductor)
Enescu - Romanian Rhapsody No. 2
Kurtág: ….concertante…. op. 42
INTERMISSION
Dvořák - Symphony No. 9

The concert started with Enescu's Rhapsody. (Foster is a US conductor with Romanian heritage.) Japanese soloists Ken Hakii (Viola) and his wife, Hiromi Kikuchi (violin) played Kurtág's work, the 90 year old composer was there. (they played it in the premiere in 2003.) the symphony was superb because of the conducting and soloists.


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## Huilunsoittaja

_Raymonda_... the only time I can ever say that I will hear a performance with _only _Glazunov's music.  WOW!!!! 100% Glazunov, no one else sharing the spotlight. Well, not musically anyhow. :lol:

Well, my whole blog series about Raymonda is out now, which includes my review of last night's performance. I fixed the 2 blogs where attachments weren't showing up.


----------



## Guest

This is quite a piano weekend! First, yesterday morning I heard Sergio Tiempo and the LA Phil conducted by Dudamel in Ginastera's Piano Concerto No.1--it was riveting! Then last night a simply ravishing recital by Daniil Trifonov. He played Bach-Brahms Chaconne, Schubert's Sonata D.845, followed by Brahms' Paganini Variations BKI. (The first half was well over an hour!) After intermission he played Rachmaninov's Sonata No.1. The audience went wild! He then played three encores: Tchaikovsky-Pletnev Dance from The Sleeping Beauty, Scriabin left-hand Prelude, and Paganini-Liszt Etude No. 6 after the 24th Caprice. Whew! I've rarely been more mesmerized by anyone's playing.

Tomorrow I hear Arnaldo Cohen in San Francisco. His program looks great, too: 

BACH-BUSONI Chaconne in D minor
BRAHMS Variations on a Theme by Handel
LISZT Sonetto del Petrarca No. 104
LISZT Sonata in B minor 

Since Trivinov has two gifted hands, I wish he too had played the Bach-Busoni Chaconne--not only do I prefer it, but it would have made an interesting comparisonwith Cohen.


----------



## Templeton

Just arrived home from the Bridgewater Hall, Manchester, where I heard:

BBC Philharmonic Orchestra
Juanjo Mena conductor | Augustin Hadelich violin

Smetana Má Vlast – ‘Vltava’
Bartók Violin Concerto No. 2
Dvorák Symphony No. 9, ‘From the New World’

After a very stressful week of work, this was the perfect antidote.

The BBC Phil excelled with the Smetana, as good as any recording that I have heard, and provided a very fine performance of the Dvorák. It's the first time that I have seen the BBC Philharmonic and Juanjo Mena appears to be doing an excellent job with some very fine musicians.

The highlight was, however, Augustin Hadelich's performance of the Bartók Violin Concerto No. 2, which was every bit as sublime as I had expected, having been an admirer of Mr Hadelich's work for some time. I wasn't particularly familiar with the piece and it is probably not one of the most accessible pieces ever composed but by the end, I had fallen in love with it, such was the quality of the performance. As an encore, he performed Bach's Violin Sonata No 2 'Andante', which was also wonderful.

An excellent conclusion to what has otherwise been a pretty awful week, so all's well, that ends well.


----------



## musicrom

It was 10 days ago, but I've been kind of busy recently, so haven't gotten a chance to post here.

Minnesota Orchestra
Osmo Vänskä conductor | Hilary Hahn violin


Sibelius - Symphony No. 3
Sibelius - Violin Concerto
Sibelius - Symphony No. 1
Yes, all Sibelius (except a Bach encore from Hahn), and it was amazing! Vanska is a Sibelius master, and it showed at this concert. You could tell he knew all of the pieces in and out, and was able to bring out subtleties that I hadn't ever noticed, and as a result, it sounded fantastic. And of course, Hilary Hahn nailed it. She just played the concerto perfectly - she knows exactly how to get the best sound out of her violin, and the performance was just mesmerizing. The orchestra capped off the night's program with a great performance of Sibelius 1, maybe even better than any recording I've heard.

This was definitely the best-played concert I've attended (I mean, I haven't gone to very many live concerts, but still), and I have little else to say but, wow.


----------



## Templeton

Sounds like a very special concert, Musicrom, with some of the very best performers around. I understand your emotions completely and it's great to see your enthusiasm shining through. I love occasions such as this, when one feels on top of the world, after attending such a great performance, and there are few better feelings.


----------



## omega

*Paavo Järvi
Orchestre National de Paris*

*Beethoven*
_Piano Concerto No.3_
Radu Lupu

*Nielsen*
_Flute Concerto_
Vincent Lucas

*Sibelius*
_Symphony No.3_


----------



## DiesIraeCX

Just got my tickets for Beethoven's Ninth and Bernstein for this upcoming Friday (March 18th)!!

I'm beyond excited, I have dreamt of the opportunity to see Beethoven's Ninth in person, and it's finally happening.



> Rejoice with Leonard Bernstein's jubilant Chichester Psalms, a Hebrew-language setting of favorite psalms from the Old Testament. Written for strings, brass, percussion, chorus and soloists, this tuneful work has remained one of Bernstein's most popular since its 1965 premiere. Of all symphonies, Beethoven's monumental Symphony No. 9 is most often declared the greatest ever written. This immortal masterpiece takes listeners on a spiritual journey from the darkness of the opening to the triumph of the famous "Ode to Joy."


http://www.houstonsymphony.org/tickets/production/detail?id=6567


----------



## nightscape

Yannick Nézet-Séguin - Conductor
Angela Meade - Soprano
Erin Wall - Soprano
Lisette Oropesa - Soprano
Stephanie Blythe - Mezzo-soprano
Mihoko Fujimura - Mezzo-soprano
Anthony Dean Griffey - Tenor
Markus Werba - Baritone
John Relyea - Bass
The Westminster Symphonic Choir - Mixed chorus
The Choral Arts Society of Washington - Mixed chorus
The American Boychoir - Boys choir

*Mahler* - Symphony No. 8


----------



## Templeton

Bit late but was back at the Bridgewater Hall, Manchester, on Monday 7th March for:

Oslo Philharmonic
Vasily Petrenko conductor | Simon Trpceski piano 

Grieg Lyric Suite: March of the Trolls
Rachmaninov Piano Concerto No.2
Mahler Symphony No.5 

Lovely, light start with Grieg and obviously apt, given the orchestra.

Wonderful and very sensitive performance of the Rachmaninov by the Macedonian pianist, Simon Trpceski and the rapport between the players was clear to all. As an encore, he and the principal cellist for the Oslo Philharmonic, Louisa Tuck, played Rachmaninov's beautiful 'Vocalise'. A lovely gesture, as he led the plaudits for Ms Tuck.

The Mahler 5 was a full-on but also sensitive and delicate, at times, performance that produced a thunderous ovation from what appeared to be a sell-out, or close to, audience. An extremely confident performance from all involved.

Despite their previous hardy endeavours, Petrenko and his orchestra still had the energy to perform another encore of an arrangement for strings of Schubert’s F minor Moment, which was delightful.

I have to confess, after all this, that I still struggle to truly appreciate both Mahler and Rachmaninov, purely on a personal level (as in my personal taste); I can fully appreciate their towering talents. Despite this, I very much enjoyed the performance and I did have a nice glass of red, during the interval, to honour my friend Hpowders, who recently informed us that in his part of the world, he is largely limited to Taylor Swift concerts. So, HP, this one's for you, as I know that you would have loved it.

Just noticed that this post now marks me out as a senior member. Do I get a prize?


----------



## papsrus

Templeton said:


> ... I very much enjoyed the performance and I did have a nice glass of red, during the interval, to honour my friend Hpowders, who recently informed us that in his part of the world, he is largely limited to Taylor Swift concerts. So, HP, this one's for you, as I know that you would have loved it. ...


HP is right. Tampa does seem to have a shameful lack of orchestral concerts, beyond the resident Tampa Bay Symphony, which I haven't heard and so can't comment on. And they now have an opera festival -- I believe it's a relatively new effort, so I'm not sure about that either. There's also a relatively new piano festival at the University of South Florida that takes place in the summer -- The Rebecca Penneys Piano Festival, a two-week student immersion type of thing, maybe worth checking out.

But, an hour's drive to the south where I am and there's a relative wealth of riches to be had.

We have a very good local orchestra led by Anu Tali that puts on Masterworks concert series each year with visiting soloists and conductors -- Neeme Jarvi recently conducted Brahms, Stenhammar and R. Strauss. The orchestra also puts on an annual chamber music series that is very good.

As for visiting orchestras, this year we've had the Orpheus Chamber Orchestra, the Cleveland Orchestra, the Russian National Orchestra and Renee Fleming.

There's also a long-running chamber music festival in the spring, a vibrant opera house with a months-long winter opera festival that is winding up right now and an Artists Series slate of concerts comprised largely of recitals by visiting, usually young artists of some accomplishment.

Itzhak Perlamn also leads an annual concert series each year here with top music students invited from around the country.

I traveled another two hours south to Naples recently, where they have an equally vibrant classical music scene with an active local orchestra and slate of visiting orchestras. There I attended one of two concerts by the Vienna Philharmonic. The opening notes of the Parsifal Prelude alone were worth the drive. They've also hosted the Toronto and Cleveland orchestras there this year.

Next year here we will have the Royal Scottish National Orchestra, the Minnesota Orchestra, the Emerson String Quartet, the National Symphony of Ukraine and Daniil Trifonov.

So, the glass is definitely more full than empty, whether red wine or white, if you venture out a little bit.

HP, come on down!


----------



## Templeton

Thanks for the heads up, papsrus, that is some line-up of talent that you have down South Florida way. Hopefully it will cheer HP up and it will save me a few pounds on glasses of wine that I have been toasting him with, out of sympathy. 

The Vienna Philharmonic is my favourite orchestra but they never visit the North of England, as far as I am aware, although I was fortunate enough to see them, in London, last year, in a stunning performance of Franz Schmidt's Symphony No. 2. Pleased to hear that they left you with similar sentiments.

All the best from a dreary North of England and please can you send us some of that lovely Florida sunshine. Tropicana orange juice isn't quite the same.


----------



## Pugg

nightscape said:


> Yannick Nézet-Séguin - Conductor
> Angela Meade - Soprano
> Erin Wall - Soprano
> Lisette Oropesa - Soprano
> Stephanie Blythe - Mezzo-soprano
> Mihoko Fujimura - Mezzo-soprano
> Anthony Dean Griffey - Tenor
> Markus Werba - Baritone
> John Relyea - Bass
> The Westminster Symphonic Choir - Mixed chorus
> The Choral Arts Society of Washington - Mixed chorus
> The American Boychoir - Boys choir
> 
> *Mahler* - Symphony No. 8


Now that's what I called a concert.
Hope you have/ had a good night!


----------



## papsrus

Templeton said:


> The Vienna Philharmonic is my favourite orchestra but they never visit the North of England, as far as I am aware, although I was fortunate enough to see them, in London, last year, in a stunning performance of Franz Schmidt's Symphony No. 2. Pleased to hear that they left you with similar sentiments.


An excellent concert: "Parsifal Prelude," "Good Friday Spell," "Manfred Symphony," with Valery Gergiev and his tooth pick conducting. I sat fourth row, dead center. Worth every penny (and it was a lot of pennies). I've never experienced anything quite like the Vienna strings. Magical. Nice concert hall down there, too. They are returning next year for two performances with Franz Welzer-Most conducting. Program to be announced. It will be high on my priority list, for sure.


----------



## Templeton

papsrus said:


> An excellent concert: "Parsifal Prelude," "Good Friday Spell," "Manfred Symphony," with Valery Gergiev and his tooth pick conducting. I sat fourth row, dead center. Worth every penny (and it was a lot of pennies). I've never experienced anything quite like the Vienna strings. Magical. Nice concert hall down there, too. They are returning next year for two performances with Franz Welzer-Most conducting. Program to be announced. It will be high on my priority list, for sure.


Hm, will be interested to hear which programme he presents. Welser-Möst has also been an advocate for the music of Franz Schmidt, so who knows, although I appreciate that there may be more of a focus upon attracting paying customers via a more popular programme. Hope that you are able to obtain tickets and please let us know more, after you have attended,


----------



## Balthazar

*Ambushed by Higdon*

I attended a concert yesterday evening featuring graduate students from the U-Mich School of Music.

Settling into my seat to enjoy a concert of composers with surnames beginning with G, I opened the program to discover this:

*Mikhail Glinka* ~ _Trio Pathétique for Clarinet, Bassoon, and Piano_
*Jennifer Higdon* ~ _Piano Trio_
[_Intermission_]
*Edvard Grieg* ~ _String Quartet, Op. 27 _

Note the manipulation of the perverse programmer who placed the Higdon after the first work but before the intermission… No chance for escape.

In truth, the second of the two movements of Higdon's trio (unfortunately titled "Fiery Red" to distinguish it from the first movement "Pale Yellow") was well played and had some Prokofiev-influenced drama.

The Glinka and Grieg were fantastic.

Note to the uninitiated reader: I have nothing against Higdon. This is a take-off on the "Ambushed by Dutilleux" meme.


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## Classical Music Fan

Saturday March 19th, 2016
Los Angeles Chamber Orchestra
Jeffrey Kahane - Conductor and Pianist
David Shostac - Flute
Allan Vogel - Oboe
Kenneth Munday - Bassoon
Richard Todd - Horn
Joshua Ranz - Basset Clarinet
*Gernot Wolfgang*
Sinfonia Concertante for Four Winds (2015)
*Wolfgang Amadeus Mozart*
Clarinet Concerto in A major, K. 622 (1791)
INTERMISSION
*Wolfgang Amadeus Mozart*
Piano Concerto #20 in D minor, K. 466 (1785)


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## Avey

Templeton said:


> After a very stressful week of work, this was the perfect antidote.
> ...
> The highlight was, however, Augustin Hadelich's performance of the Bartók Violin Concerto No. 2, which was every bit as sublime as I had expected, having been an admirer of Mr Hadelich's work for some time.


He is clearly on the circuit, because I see him in Portland in two weeks for *Ades* "Concentric Paths," which is a piece I heard a few weeks ago for the first time. Heard it nearly every day since.

I could see him as well this weekend up in Seattle for the P.T. concerto, but between the routine and other places I had planned to be -- I will pass. He says the P.T. concerto, something he has been playing "since [he] was 12" and has "lovely" melodies, etc., is nonetheless uncompelling for me, opting to spend the required $$$$ elsewhere.



musicrom said:


> It was 10 days ago, but I've been kind of busy recently, so haven't gotten a chance to post here.
> *Hilary Hahn violin*
> 
> 
> Sibelius - Symphony No. 3
> Sibelius - Violin Concerto
> Sibelius - Symphony No. 1
> Yes, all Sibelius (except a Bach encore from Hahn)


Wow, I could just die.

She is the remaining performer I hope to see in concert. Her presence would truly "shock" me, as it were (_e.g. star shock_) and I would spend significant time and cash on getting appropriate seating far ahead of time (_see, e.g., infra MY POST_).

Also, all Sibelius -- terrific idea, and yet: I HAVE NEVER SEEN THAT. What the hell?!



nightscape said:


> *Mahler* - Symphony No. 8


K -- definitely dead now. *HOW DOES THIS HAPPEN AND WHY DOES IT NOT HAPPEN NEAR ME*



Templeton said:


> ...
> Grieg Lyric Suite: March of the Trolls
> Rachmaninov Piano Concerto No.2
> Mahler Symphony No.5
> 
> Lovely, light start with Grieg and obviously apt, given the orchestra.


Haha, wait *WHAT?!* HOW the hell do those two works get programmed in the same night?! What kind of bogus am I sitting through? What planet are _you _living on?!


----------



## Avey

*Scheherazade.2*
_Seattle Symphony
John Adams, conductor; Leila Josefowicz, soloist_

*Scheherazade.2*

So, I bought one ticket, because several weeks ago, upon hearing a random advertisement spot on the radio broadcast, I heard that *Mr. John Adams* would be returning to Seattle for two concerts of his most recent work, a second violin concerto, _Scheherazade.2_; that it would be premiered in the hall (not globally/nationally); that he would attend a Q&A afterwards; that the violinist who this was written for will be performing the work; that although the website tells me: $21 - Row A (blocked view), I pay anyway, because I know the joint, and I will deal with the strained neck and new-morning ache, because I get to watch *J.A*.'s movement and *L.J.*'s stunning, lively performance in POWER and GRACE, right up front, right up in their breath; and that never hearing this work before, intentionally since learning of this after that first ad, I was expecting to be (and I certainly was) in something like a haze, fugue-like and pretty unspectacular to be around, because for those 50 minutes or so, I was engrossed in something I have _never __been a part of_. Sure, maybe listening to certain performances I have hit the nadirs/zeniths in a retrospective. Being there, however, witnessing and dealing with this absurd performance, as it were, I realized that _this_ thing I was watching, _this_ act -- this was true solo performance. The music + her + the precision backing the apex = EXHIBIT A: THE CONCERTO.

Having said that, if you like Adams, you would like the piece, but it was nothing spectacular of his. The form and variation, from my perspective, was somewhat limited given his catalogue. It was made clear that this piece was the latter's gift -- her own and ours.

And so, then there was *Leila Josefowicz*. Let us not dally on the virtuosity -- that is expected. Let us no ponder the oeuvre, that she is a champion of modern works, and for that alone, she deserves attention.

Instead, let us marvel in her being her, and her alone. Shredding on stops, she stares down the cellos and basses in return; she culls on Adams; she has got this stance that is almost Diana-like, commanding the orchestra and then on the next turn, staring us (the people) down with threatening gestures; ripping horse hairs on every other break; you have a difficult time looking her in the eye because she stares right back at you; she makes the face that could at one angle look artificial, and on another (within the music) perfectly lost in step and narrative.

*HER HAIR IS SHORT YET IT FLOWS BACK LIKE SOME PERPETUAL WIND FLIES IN HER FACE*

I watched her and thought: _Who else should be doing this?_

Read about the work, recent Adams' interviews, etc., and you'd hear how enthralled and enthusiastic and beyond all else, _inspired_ to write this work because of L. Josefowicz. She was the woman he was thinking of, the empowering stalwart of expression, talent, and drive.

John Adams speaks the truth.

Adams, by the way, looked me in the eye like four times, and it made me super uncomfortable because I was truly star-struck, as it were, and was thinking, _Holy Hell - John Adams, yo_

_Edit: Ah, sorry! Also Elgar's March No. 3 and Respighi's Pines of Rome . . . . _


----------



## Guest

I attended a wonderful Youth Music Competition winners concert in my town yesterday. OK, it's just not right that a 15 year old pianist can play Ligeti's Etude No.13 ("L'escalier du diable") at all much less as well as the young man did! He also has a very slight build, so I don't see how he made the stretches of 10th, but made them he did! Interestingly enough, his last name is Horovitz, and he wore a bow tie.


----------



## Pugg

*Rotterdams Philharmonisch - Matthäus-Passion
*
Rotterdams Philharmonisch Orkest en Laurens Collegium Rotterdam

o.l.v. *Pablo Heras-Casado* - dirigent

m.m.v. Werner Güra tenor (Evangelist)
Peter Rose bas (Christus)
Camilla Tilling sopraan
Lawrence Zazzo countertenor
Robert Murray tenor
Derek Welton bas.

We had one of the most memorable night this years so far.
Pablo Heras-Casado is a magnificent conductor, the soloist where wonderful and one could hear a pin drop in the auditorium :tiphat:


----------



## Pugg

*Renée Fleming *- soprano

Hartmut Höll - piano
Programme

R. Schumann - Frauenliebe und -leben, op. 42

Rachmaninoff - In de stilte van de geheime nacht, nr. 3 (uit 'Zes liederen', op. 4)

Rachmaninoff - Ne poy, krasavitsa, pri mne (uit 'Zes romances', op. 4)

Rachmaninoff - De waterlelie, nr. 1 (uit 'Zes liederen', op. 8)

Rachmaninoff - Schemering, nr. 3 (uit 'Twaalf liederen', op. 21)

Rachmaninoff - Lentebeekjes, nr. 11 (uit 'Twaalf romances', op. 14)

Dutilleux - Le temps l'horloge, nr. 1 (uit 'Le temps l'horloge')

Dutilleux - Le masque, nr. 2 (uit 'Le temps l'horloge')

Dutilleux - Le dernier poème, nr. 3 (uit 'Le temps l'horloge')

Dutilleux - Enivrez-vous, nr. 5 (uit 'Le temps l'horloge')

R. Strauss - Das Bächlein, nr. 1 (uit 'Drie liederen, op. 88', op. 88)

R. Strauss - Ruhe, meine Seele, nr. 1 (uit 'Vier Lieder', op. 27)

R. Strauss - Allerseelen, nr. 8 (uit 'Acht Gedichte aus Letzte Blätter', op. 10)

R. Strauss - Meinem Kinde, nr. 3 (uit 'Sechs Lieder', op. 37)

R. Strauss - Die heiligen drei Könige aus Morgenland, nr. 6 (uit 'Sechs Lieder', op. 56)

It was everting I hope for and even more, still great voice for a lady at that age.

It was a night I will never forget. 
Such a great artist and so very professional.

*Thank you Mrs Fleming and I hope it's not farewell yet *.


----------



## CyrilWashbrook

I have been on something of a concert-going tour of Germany in the past few weeks. I might make mention of one or two other concerts in a subsequent post, but the one I attended yesterday afternoon was something quite special: Stanisław Skrowaczewski (at 92) and the Rundfunk-Sinfonieorchester Berlin performing Bruckner 8 in the Philharmonie.

Bruckner is one of my favourite composers, but I'd never seen one of his works performed live. What a way to start! It was an exhilarating performance, played with both precision and energy from start to finish, and rewarded fittingly with a standing ovation. It was later broadcast on radio: I didn't re-listen to the concert, but I did afterwards catch a lovely interview with Skrowaczewski about his connection to Bruckner.


----------



## omega

CyrilWashbrook said:


> I have been on something of a concert-going tour of Germany in the past few weeks. I might make mention of one or two other concerts in a subsequent post, but the one I attended yesterday afternoon was something quite special: Stanisław Skrowaczewski (at 92) and the Rundfunk-Sinfonieorchester Berlin performing Bruckner 8 in the Philharmonie.
> 
> Bruckner is one of my favourite composers, but I'd never seen one of his works performed live. What a way to start! It was an exhilarating performance, played with both precision and energy from start to finish, and rewarded fittingly with a standing ovation. It was later broadcast on radio: I didn't re-listen to the concert, but I did afterwards catch a lovely interview with Skrowaczewski about his connection to Bruckner.


I also had the opportunity to see Skrowaczewski conduct Bruckner (the Fourth) last year. I was really surprised - positively surprised, I must say -, by his "free" approach to the composer especially his flexible tempi. And also an amazingly fresh energy, given the conductor's honourable age.


----------



## Balthazar

Last weekend I caught a chamber music concert with the U-Mich School of Music:

*Schumann* ~ _Märchenerzählungen_ for clarinet, viola, and piano, Op. 132

*Brahms* ~ Piano Trio No. 1, Op. 8

*Dvořák* ~ Piano Quartet No. 2, Op. 87

Ambuscade-free, but wonderful playing.


----------



## TurnaboutVox

Bridgewater Hall, Manchester
*
Stravinsky: Chorale Variations on Vom Himmel Hoch
Bach: Magnificat in D, BWV243*
Schumann: Symphony No.3, 'Rhenish'*

*Sophie Bevan, soprano; Christopher Ainslie, counter tenor; Andrew Staples, tenor; Christopher Purves, bass-baritone
Hallé Choir
Hallé Orchestra; Ryan Wigglesworth, conductor


----------



## Vaneyes

TurnaboutVox said:


> Bridgewater Hall, Manchester
> *
> Stravinsky: Chorale Variations on Vom Himmel Hoch
> Bach: Magnificat in D, BWV243*
> Schumann: Symphony No.3, 'Rhenish'*
> 
> *Sophie Bevan, soprano; Christopher Ainslie, counter tenor; Andrew Staples, tenor; Christopher Purves, bass-baritone
> Hallé Choir
> Hallé Orchestra; Ryan Wigglesworth, conductor


How did you find Ryan Wigglesworth's conducting? Music critic David Nice in 2014 described him as barely competent.


----------



## Avey

*Borealis String Quartet*
Misc.

So, I read in the newspaper: _The Borealis String Quartet performs tonight at ------ at 8 pm. Program TBD_

BANG

And there I am, showing up and greeted by monks(!), men in robes and then through reading about the monastery here, I discover what being a monk actually entails. I had some general thought of it in my mind, but I suppose I just considered the practice. I do not share my opinions on the thing -- but I did think about it throughout the night.

Anyways, the performance, which I anticipated for maybe the week prior, since reading the announcement, namely was _fitting_. What do I mean, well:

1. The pieces were as you'd expect.

I had to guess the program, which was a great delight in itself. I had anticipated a Mendelssohn and Mozart piece, out of nowhere. I just guessed. In retrospect, I want *EVERY* performance I attend to be *TBD*. It was so fantastic not knowing what I was going to hear. I really envy that, now, today.

Knowing it was in a church, the sound was echoing and vast. This sound is OK for like _lentos_, or maybe _andantes_. But for the *American Q.*, *LVB #4*, and misc. contemporary set, the sound was sadly distant and slightly shaky.

I love Dvorak, and I love No. 12 -- the warhorse I would ride, if you will -- but LVB's Fourth felt generic and forced, since they played it to open and without any sort of commentary. And the latter -- the commentary -- I generally dislike. That is, performers have _tons_ of information to relay, but when they speak between pieces, it often gets relegated to _programmatic commentary_, which I would rather turn my face and read a book during the whole enterprise. Like, _down _with the program junk. The 21st Century is *OLD*, but not every 'eff-ng piece written in this era needs to _evoke_ some moment. For real, it is disappointing.

2. The setting was unspectacular, even if in an abbey. Hence, the low promotional value, because the room couldn't fit more than a couple hundred, and the seating was on level ground. That is, every seat was on the same ground, so that when you sat behind someone, there was scalp and nodding right in your face. It was awful.

So I asked the monk seated staunchly and silent to my back right: _Would it be acceptable [sic] if I stood up for this half?_ And he said yes, and it heightened the experience, rather than just staring at the ceiling and focusing on the sounds.

_(LATE) EDIT: Potentially a new post, but: How often do y'all see performances? I am so busy I fail to schedule these things recently. And the delay/absence very much disappoints me, because I glean significant material from performances, which if not apparent, has little to do with the sound, and more to do with Why, I, feel this way or that way. But maybe my speaking here is just silly, petty crap, which is fair. That is fair. Though, beside the petty crap, I really do love music. Else, I suppose, why do I keep going to these things...? GREAT POINT AVEY_


----------



## omega

*Debussy*
_Prélude à l'après-midi d'un faune_

*Shostakovich*
_Cello Concerto No.2_
Cello: Sol Gabetta

*Sibelius*
_Symphony No.5_

Mikko Franck
Orchestre philharmonique de Radio France

Wonderful rendition of Debussy's _Prélude_. I didn't know the Cello Concerto before the concert, and Sol Gabetta gave a powerful performance of this dark work. As for Sibelius, I was somehow surprised regarding Franck's choices (especially the slow tempo in the beginning of the third movement).


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## CyrilWashbrook

I saw this concert at the Philharmonie im Gasteig in München on 30 April:

Ligeti: Atmosphères
Berg: Symphonische Stücke aus der Oper _Lulu_
Fauré: _Pelléas et Mélisande_
Stravinsky: Symphony in Three Movements

Performed by the Münchner Philharmoniker and Barbara Hannigan (conductor and soprano).

When I was planning my travels in Germany and nearby countries, I structured the trip to enable me to see certain concerts: this was one of them. A couple of days earlier I had been in Vienna: I suspect there would be riots in the streets if this programme were run there.

I really enjoyed it. I was familiar with the Ligeti from _2001: A Space Odyssey_, of course, and the third movement of the Fauré, but otherwise the programme was new to me and the type of music was quite unfamiliar (which is why I wanted to go to this concert). The Stravinsky was impressive: I will certainly listen again. Hannigan was excellent, as you would expect.


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## Gouldanian

I saw Murray Perahia live at the Montreal Symphony House yesterday. He played Haydn's variations, some Brahms, Mozart's 8th and Beethoven's 29th. It was splendid.


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## Biwa

I had a wonderful time at the ballet on Wednesday.

Don Quixote


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## Gouldanian

I saw the TSO perform Brahms's 4th symphony at the Montreal Symphony House last Sunday. They also performed John Adams's Scheherazade and Beethoven's Egmont (Ouverture). The conductor was Peter Oundjian.


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## omega

*Alban Berg*
Violin Concerto _Dem Andenken eines Engels_
Isabelle Faust, violin

*Gustav Mahler*
_Symphony No.4_

Daniel Harding, Orchestre de Paris


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## Mahlerian

omega said:


> *Alban Berg*
> Violin Concerto _Dem Andenken eines Engels_
> Isabelle Faust, violin
> 
> *Gustav Mahler*
> _Symphony No.4_
> 
> Daniel Harding, Orchestre de Paris


Sounds like a great concert! How was it?


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## omega

Mahlerian said:


> Sounds like a great concert! How was it?


I was not very familiar with the Berg concerto - a very oniric and subtle piece.

As for Mahler, it was really - oh, what adjective could fit? - gorgeous - mmh... why not. Can't find of another word.
Despite some tiny shaky steps in the first two movements, the _Ruhevoll_ movement was brilliantly constructed. Harding just nailed it! As for the final movement (with soprano Christina Landshamer), it was played slowlier than what I am used to, with a solemn emphasis on the last verses of each stanza.

A great evening. I really look forward to next year's season with Daniel Harding!


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## Cheyenne

I few days ago was at the concertgebouw with the RCO performing Beethoven's Violin concerto and Prokofiev's Sixth symphony, led by Gergiev. A privilege, and the latter work, which I had never heard before, left me devastated. Nikolaj Znaider was charming and energetic as violinist in the concerto. 

Today I visited the Dutch Philharmonic Orchestra conducted by Hartmut Haenchen, playing Händels Music for the Royal Fireworks and Shostakovich's 8th symphony. The former was very fun played with a big modern orchestra, as in Szell's recording (one of my favorites). The latter left me much like Prokofiev's sixth...


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## Radames

Montreal Symphony final concerts begin tonight with Britten's War Requiem. The season is almost over. I've been going to youth orchestra concerts. But the one I just went to Sunday in Hartford was pretty cool - a young violinist played the Wieniawski Violin Concerto No.2. I have never heard in in concert so it was a real treat. Real catchy tune in the finale.


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## Vaneyes

Gouldanian said:


> I saw the TSO perform Brahms's 4th symphony at the Montreal Symphony House last Sunday. They also performed John Adams's Scheherazade and Beethoven's Egmont (Ouverture). The conductor was Peter Oundjian.


TSO's facing another crisis.

https://www.thestar.com/entertainme...-orchestra-faces-triple-jeopardy-knelman.html


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## hpowders

omega said:


> *Alban Berg*
> Violin Concerto _Dem Andenken eines Engels_
> Isabelle Faust, violin
> 
> *Gustav Mahler*
> _Symphony No.4_
> 
> Daniel Harding, Orchestre de Paris


Wish I was there!!! My kind of concert.


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## omega

I shall take you with me next time


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## hpowders

omega said:


> I shall take you with me next time


I require ten minutes notice.


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## Radames

Vaneyes said:


> TSO's facing another crisis.
> 
> https://www.thestar.com/entertainme...-orchestra-faces-triple-jeopardy-knelman.html


I had not heard about this. I'm sure there will be a way to save one of Canada's major orchestras. I hope they don't have to take a massive pay cut the way many US orchestra have had to do. I was in Hartford a couple of weeks back and after the concert I saw some musicians leaving the building - they didn't look too happy -probably something to do with the 30% pay cut.

I usually catch the TSO when they come to Montreal. Tough choice this year - I skipped to hit Glens Falls for Belshazzar's Feast. Couldn't miss THAT. One of my best of the season concerts.


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## JosefinaHW

Backstage Program *now live*; Concert *8 PM EST .... Joshua Bell*, Detroit Symphony Orchestra
*Friday, 27 May
*
FREE http://www.dso.org/Live.aspx

Program

STUCKY Dreamwaltzes
LALO "Symphonie espagnole"
PROKOFIEV Symphony No. 5


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## Cheyenne

I saw Le Concert des Nations, Jordi Savall, Hespèrion XXI and La Capella Reial de Catalunya today, performing_ War and peace in Baroque Europe: From the Thirty Years War to the Peace of Utrecht_. Four people were seated in front on cushions:

Nedyalko Nedyalkov playing the kaval (an end-blown flute found, for example, in the Balkans); Yurdal Tokcan playing the oud (Arabic lute); Hakan Güngör playing the kanun (a large-scale zither - also known as qanun) and Dimitri Psonis playing the santur (Greek dulcimer)​
For the vocal work commemorating the Jewish slaughter of 1614 (as the baritone reported) the 4 vocalists left the stage and returned later, walking through the hall and seats with a single candle. The encore was Pärt's Da pacem Domine... Someone's phone also went off, which added another modern flourish.

It was a day I will never forget.


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## Ariasexta

Johann Philipp Fortsch (1652-1732)) 
(Image upload failed from all amazon sites)

Geistliche Kantaten

Weser-Renaissance (Künstler), Manfred Cordes (Künstler),
CPO









Johann Philipp Fortsch

Dialogs, Psalms & Sacred Concertos

Roland Wilson, Musica Fiata
CPO


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## Ariasexta

View attachment 85250


Sebastien De Brossard(1655-1730)

Cantiques Sacreez
Martin Gester, Le Parlement de Musique

Opus111

View attachment 85251


Andreas Hammerschmidt(1611-11675)

Geistliche Vokalmusik
Jorg Breiding, Himlische Cantorey, Knabenchor Hannover, Rosenmuller Ensemble.

CD Publisher: Rondeau


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## Ariasexta

View attachment 85252


Valentin Rathgeber(1682-1750)

Augsburgiches Tafel-confect

Jurgen Sonnentheil

CPO

View attachment 85253


Harmonischer Gottes-Dienst Vol.1









Harmonischer Gottes-Dienst Vol.2

Bergen Barokk

CD publisher: Toccata Classics


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## omega

*Gustav Mahler*

_Symphony No.3_

Michelle De Young (Alto)
Chœur de l'Orchestre de Paris
Choœur d'enfants de l'Orchestre de Paris
Orchestre de Paris
Paavo Järvi

Järvi's last concert as music director in Paris.
I had never cared about Mahler conducted by Järvi before - and it is interesting to see how a live concert has made me reconsidering the matter.
Järvi's style is quite straightforward, usually with rapid tempi, which is perfect for the 1st movement. A strong introduction to the symphony. (It is also more impressive to see all the percussions on a live performance - I hardly can hear all of them when I listen to a recording.)
The second and the third movement where slightly faster as what I'm used to (mostly Abbado/BP).
Michelle DeYoung delivered a satisfactory performance of the _O Mensch, gib Acht_; Järvi succeded in creating the mysterious atmosphere everyone was looking for.
The extract of _Des Knaben Wunderhorn_ was unfortunately a little disappointing: I thought it lacked some poetry.
Eventually, the _Adagio_! Here again, Järvi was not too slow, but all the emotion was there, with brilliant climaxes. The _Philharmonie_ room kept the last chord resonate like a fermate.
And then, an ethousiastic - and unusually long - series of applause, an _encore_, flowers, a short speech and a gift to the conductor (a lettre by Berlioz).

A nice evening. Järvi might not be in my top-10 Mahler conductors, but I was positively surprised by his concert!


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## Pugg

omega said:


> *Gustav Mahler*
> 
> _Symphony No.3_
> 
> Michelle De Young (Alto)
> Chœur de l'Orchestre de Paris
> Choœur d'enfants de l'Orchestre de Paris
> Orchestre de Paris
> Paavo Järvi
> 
> Järvi's last concert as music director in Paris.
> I had never cared about Mahler conducted by Järvi before - and it is interesting to see how a live concert has made me reconsidering the matter.
> Järvi's style is quite straightforward, usually with rapid tempi, which is perfect for the 1st movement. A strong introduction to the symphony. (It is also more impressive to see all the percussions on a live performance - I hardly can hear all of them when I listen to a recording.)
> The second and the third movement where slightly faster as what I'm used to (mostly Abbado/BP).
> Michelle DeYoung delivered a satisfactory performance of the _O Mensch, gib Acht_; Järvi succeded in creating the mysterious atmosphere everyone was looking for.
> The extract of _Des Knaben Wunderhorn_ was unfortunately a little disappointing: I thought it lacked some poetry.
> Eventually, the _Adagio_! Here again, Järvi was not too slow, but all the emotion was there, with brilliant climaxes. The _Philharmonie_ room kept the last chord resonate like a fermate.
> And then, an ethousiastic - and unusually long - series of applause, an _encore_, flowers, a short speech and a gift to the conductor (a lettre by Berlioz).
> 
> A nice evening. Järvi might not be in my top-10 Mahler conductors, but I was positively surprised by his concert!


In ten years time you can say: I was there.:tiphat:


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## Avey

*Opening gala*
_Astoria - Summer Music Festival_

*Fanfare for the Common Man*

The program initially called for _Short Ride in a Fast Machine_, but the Copland sub did fine. The brass often take the forefront at climaxes, in _certain_ pieces ( I suppose ), but it's nice to see them alone.

Even if the work is slightly cliche...

*Elgar's Cello Concerto*

Herr Sergey Antonov performed, _LOUD_ and far more passionate than the recent cello concert (of Schumann's) I saw nearby, which was quiet and entirely devoid of sentiment (and, yes, I even decided to _not_ post a review, because it'd be far too excruciating for my sake, and rude for all else).

S.A.'s adagio made me cringe, and when I cringe, I often smile, because I get nervous. So I was smiling, but covering my face, to spare others from getting skewed perceptions of the performance.

And at intermission, he sold his recent EP, a dozen selections of solo/piano pieces for cello, and he signed these pieces, should you wish. I went up, got mine signed, and I asked him:

_Terrific rendering_--_do you mind if I ask? [no pause] What is your favorite solo cello piece . . . to perform, specifically?_

And he told me, after leaning back, looking off, and smirking -- _You know, I can't say. Because it really is whatever I am playing at the moment._..._that is true, it really is..._

And at once, I felt sorry for asking that. First, I should have asking something more specific. I regret that.

But, at the same time, I got this sense of relief. Not because I got the honest answer, but because I got this dull, generic, stale response that I would expect from a trained athlete who is answering how he feels winning this game -- _feelsgreatIwanttohelptheteamandIlovecompetingreallyhardcompetingalldayeverydaythatis_.

That is, the painful banal reality of greatness. I got this profound sense of stoicism -- of something so plain and ordinary and generic coming from the elite performer, something that is so far from the equally grand and elite *ELGAR's CELLO CONCERTO*. It is weird, expecting the performer to be as wild and unhinged as the way plays. Or something like that.

Because like I know S.A. is just a human. And I know he has human responses. And I know he probably had a favorite cello piece(s) (like, how can he not) but his profession and his maturity tell him to _not reveal that answer_ or _you must be passionate with all music you play_ type of mantra. Which is fine. But I'd still like him to answer me with honesty, and after full-stock review, make an open/fleshy/bare-knuckled admission.

Of course, he was likely being honest!

Sorry -- third piece: *Phil Glass, Symphony No. 4*

Allegedly, first time _ever_ performed on the West Coast.

Regardless, a piece worth noting. I enjoy several P.G. pieces before, but the live performance made me note this one's specialty.

BTW the conductor spoke for like 8 full minutes. That is crazy. I don't hate conductor prologue, but the thing has _GOT_ to be like 2 minutes or less. Silly to drag it on. We want the notes, yo, not the human voice.


----------



## Biwa

I saw Carl Davis's ballet, Aladdin (2000) for the first time. I enjoyed it more than I expected. Though much of the music harks back to the 19th century, Davis was able to create his own sound in this delightful romance. It has plenty of evocative melodies which are developed quite beautifully at times. The sets and costumes are lavish. And the dancing itself blends traditional ballet with more contemporary styles.


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## papsrus

Avey said:


> _Terrific rendering_--_do you mind if I ask? [no pause] What is your favorite solo cello piece . . . to perform, specifically?_
> 
> And he told me, after leaning back, looking off, and smirking -- _You know, I can't say. Because it really is *whatever I am playing at the moment*._..._that is true, it really is..._


To me, this may simply be him saying that the act/art of performing is more meaningful to him than the specific piece of music being performed.

Perhaps the answer would have been different if you'd asked, "What is your favorite cello piece?"


----------



## juliante

I went to the finale of The Lewes Chamber Music festival on Sunday. 

Ravel Mother Goose Suite for four hands
Mozart String Quintet in Eflat major, K. 614
Huw Watkins String Trio
Bartòk Contrasts Sz.111 for Violin, Clarinet and Piano
Faure Piano Quintet, op.115

All pieces were great but the Bartok was particularly exhilarating, such virtuosity! The Faure was a pleasant surprise - not a top rank piano chamber piece perhaps but sounded wonderful live.


----------



## Taggart

Saturday June 25th - Coronation Anthems at Norwich Cathedral.

This was a concert organised by the Cathedral with their choirmaster Ashley Grote as conductor and Norwich Baroque (and friends) providing the orchestral backing. It was organised with the Queen's 90th birthday in mind, though not a direct tribute.

Purcell - Birthday Ode for Queen Mary
Handel - Concerto Grosso Op 6 No 7
Handel - Coronation Anthems for George II

There was an excellent group of soloists for the Purcell and they gave a fine performance. Norwich Baroque were augmented by trumpets, drums and assorted wind instruments and gave a rousing performance. It is a nice irony that Purcell's next royal commission was for the funeral music for Queen Mary the following year, which was also used for his own funeral 5 months later.

For the Concerto Grosso, Norwich Baroque reverted to their usual format of stings and harpsichord continuo. Handel's Op 6 is seen as one of the twin peaks of the Baroque concerto alongside Bach's Brandenburgs. Norwich Baroque gave a stirring performance.

The second half was devoted to Handel's Coronation Anthems. Given the rainy weather, it was interesting to note that the coronation was postponed for a week because of the risk of floods - plus ça change, plus c'est la même chose. The choir was in fine voice and gave an excellent performance. Norwich Baroque with others provided a rich orchestral accompaniment. The whole ensemble received well deserved and rapturous applause at the end.


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## Lyricus

Did anyone see the premier of Rimsky Korsakov's Golden Cockerel at the Met this month? I thought it was quite good. A bit light-hearted and even silly at times, but overall very satisfied with it. Décor was good, choreography was superb, music was pleasant—very little to complain, save that the new binoculars my wife bought weren't up to snuff. Wondering what others' thoughts are.


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## Biwa

Scriabin: 
Reverie in E minor, op.24
Piano concerto in F-sharp minor, op.20

Rachmaninov:
Piano concerto no.2 in C minor, op.18

Mikhail Pletnev, piano
Tokyo Philharmonic Orchestra 
Shigeo Genda, conductor


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## TurnaboutVox

Royal Northern College of Music, Manchester, England
12th June 2016

*An Exquisite Hour* - music set to texts by Paul Verlaine, Charles Baudelaire and Heinrich Heine.

*Massenet*
Revons, c'est l'heure

*Faure*
Prison, Op 83/1
Mandoline, Op 58/1
En Sourdine, Op. 58/2
Green, Op. 58/3
*
Hahn*
Chansons grises No. 5 'L'heure exquise'
Melodies No. 4 'D'une prison'
*
Vaughan Williams*
The sky above the roof

*Grace-Evangeline Mason*
The rosy hearth (world premiere)

*Debussy*
Mandoline
Fetes galantes No. 1 'En sourdine'
Ariettes oubliettes No. 5 'Green'

*Duparc *
L'invitation au Voyage
La vie anterior

*Schumann*
Die lotusblume, Op 33/3
Der arme Pater, Op. 53/3
Myrthen, Op 25/7

*Clara Schumann*
Ihr bildnis, Op 13/1

*Wolf*
Liederstrauss Nos. 2 & 3

RNCM Students, voices and piano.

A very high class performance from the various RNCM students: there are some very fine singers and accompanists amongst them, though the overall standard was very high.


----------



## TurnaboutVox

Royal Northern College of Music, Manchester, England
12th June 2016

*Songs for Lovers, Madmen and Vagabonds*
Texts by Goethe, Baudelaire and John Masefield.

*Schubert*
Die Musensohn D.766
An den Mond D.259
Ganymed D.544
Heidenroslein D.257
Rastlose liebe D.138
Wanderes Nachtlied II D.768
Der Fischer D.225

*Judith Bingham*
My Heart Laid Bare
L'Aureole
Un Air Mysterieux
Un Air Charmont
Un Air Mourant

*John Ireland*
Vagabond
Sea Fever

*Recbecca Clarke*
The Seal Man
*
Frederick Keel*
Three Saltwater Ballads
-Port of Many Ships
-Trade Winds
-Mother Carey
*
Philip Smith*, baritone
*Jonathan Fisher*, piano

Both concerts were part of what seems to be an annual 'Day of Song' at the RNCM in Manchester. This was a very enjoyable day out, with an agreeable lunch in between! Fine though the RNCM students were in the morning, Philip Smith and Jonathan Fisher were in a different class, both in Schubert and in the 20th century British songs that closed the programme.


----------



## TurnaboutVox

and finally...!

RNCM, Manchester
20th June 2016

*Diverso String Quartet*
*
Beethoven - String Quartet in C minor, Op. 18/4
Kurtag - Officium breve in memoriam Andreae Szervanszky, Op. 28
Brahms - String Quartet in C minor, Op. 51/1*
Marcin Ostrowski, Dagmara Forys, violins; Magdalena Krawczuk, viola, Zofia Łodygowska, cello.

The Diverso quartet's Beethoven reminded me of the Talich quartet from a previous generation of players, their ensemble being tight and rhythmically coherent and their intonation totally secure. Interestingly, in this first work the second violin, viola and cello player formed a group, looking inward to each other, whilst the male first violin seemed to take up almost a 'soloist' position.

I enjoyed the fine Kurtag piece which I now know well, but I was unable to stay focused on the Brahms, which has always seemed to me the least coherent and most awkward of his three published works for string quartet. My son enjoyed it, however, suggesting as ever that the problem with this composer is mostly in my relationship with his music. Showing nice democratic spirit, the female 2nd violin for the Beethoven and Kurtag became the leader in the Brahms quartet.


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## Avey

*Sonatas and Partitas - Bach, Tartini, Matteis, Biber*
_Rachel Podger_

I was excited for the performance, namely because I don't think I have ever seen a soloist alone (i.e., a recital) perform for a couple of hours. I have seen recitals, where a soloist has piano accompaniment, or even a student plays a single piece alone, but only like a miniature of 3 minutes or less.

Point being: Podger, going solo, going Baroque -- a new experience. Also, it would be a surprise for me as to _what_ pieces she was going to precisely play, since the festival listing only indicated "Sonatas and Partitas, including Bach" which led me to believe that she was going to run through the three sonatas and partitas of Bach, all of them. And that prospect was like seriously mind blowing. But it didn't happen.

Instead, she picked *Bach's second partita* (closing piece, obvs) and Bach's *partita for solo flue in A minor* obviously transcribed for violin. The transcription piece was fine, but a little dry and slow -- clearly was not written originally for the string instrument. But am I just saying that because I know it was a transcription? Yes, definitely. ... And I don't have anything else to defend my retrospective opinion.

In the middle, she played *Tartini's Sonata in B Minor*, *Matteis' Selections from Ayers for the Violin*, and *Biber's Passacaglia in G Minor from "Guardian Angel."* All pieces that were new to me. The latter, Biber's, was gorgeous. Matteis' was interesting, especially that some of that music came from the 17th Century. Seemed way beyond its time, in certain respects. And Matteis sounded like an interesting fellow.*

The night ended with *Bach's Partita No. 2 in D Minor*. Not to remark too much on the music, as is appropriate here, listening to the chaconne live was weird. Or it was just giving me a lot of thoughts about music and the transient/bathetic nature of art generally. This preeminent, sort of "marble" work of music is just, well, _music_. She played it. I heard it. It sounded like the chaconne. She didn't have an elaborate, dramatic flourish as you hear on typical recordings (e.g., slowly and loudly drawing out the opening theme), so it was quite strict and contained, if you will. Just different was all, hearing it now live. And the music is still special, it was still obviously the chaconne. But just hearing it then, and listening to the notes, the order of the notes there -- it was just art. Art written in musical form many years ago, and it was written without our understanding or reverence for it today. It is now exalted, but I don't know if it was back then, when he wrote it. Did Bach know the thing that he wrote? That most listeners consider it high, unattainable art? That is odd, and it is hard for me to wrap my head around that, or even attempt to describe here what I felt.

The encore was the _gigue_ from the *third partita*, which was fine, but it upset me because I was _really_ really hoping she'd play the third partita that night, and if she is going for an encore, I'd be stuffing the ballot box for the _allegro_. She dedicated it to a 10-year-old girl in the audience who came from Texas to attend her workshop. She was just learning the third partita, the girl, the 10-year-old.

* Ms. Podger is a _wonderful_ lecturer. She would speak for a couple of minutes in between the pieces (which, I don't need to repeat, often gets on my nerves, the pre-music banter/program type stuff) and gave unrivaled insights into the technical aspects of the playing and performance. Matteis, for example, wrote for the violin to be held at breast height, which she tried to do while learning his piece, but could not quite get things sounding right, at least compared to her natural (and now appropriate) position of under the chin. Also, Ms. Podger's English accent lends her a certain credibility, and the jokes a certain whimsy and flourish.


----------



## Avey

*Ein Deutsches Requiem*
Oregon Bach Festival Orchestra
OBF, Berwick Chorus; Strangeland Family Youth Choral Academy; UO Chamber Choir

*Brahms 3rd Symphony*

Obligatory preface: This was (as I remember and recall) the first work that I was hooked on. I liked Debussy before Brahms, but it was not until I heard Brahms Third Symphony over like 50 times in like two weeks did I get to where I am now. I do not hear it the same today, but I know it the same. If you get my drift.

Performance: Otherwise unremarkable, which is, I would submit, a good thing. Sure, a performance could have contained _remarkable_ elements, but 80/20, the element being something off and poor to witness or hear. So, what I am trying to say is that this was a precise performance, and that was unremarkable, given the performers, as I come to expect. It sounded like it should, though I heard Brahms 3rd with the Eugene Symphony several months ago, and I preferred their take. Maybe I was in a different mental state. Probably.

I will say, I suppose, that this performance had one troubling part: the climax's timpani roll in the opening movement was _way_ overdone. I heard the effects of it during the lilting trio. It was frustrating. BTW, must be said, I very much appreciated the placement of the Third Symphony with the _literal_ Requiem. Terrific programming.

*Ein Deutsches Requiem*

This is a _great_ work. That must be said. Simple, but must be said. Because my comments, after reviewing, seem disenchanting. But they are not. They are just pulling out specifics of the performance, here and now. I hope I make it clear how _great_ this thing is.

Generally, what I realized, was that the work is filled with _notable_ elements. Sure, what music isn't, right? But I suppose only live did I note how many landmark sections and instances that are scattered throughout this work. I just kept waiting for the next, and they came so quickly. The interstitial material being still enjoyable and all, but these notable moments stand out in my mind, sort of preeminent points in the piece that symbolize the material as a whole. For instance:

1. The opening and closing codas. This[ese] moment is[are] unmistakable, and it[etc.] is one of the single most glorious moments of music that I have heard. I remember first hearing it many years ago, and I remember just hearing it this last week in the hall, getting chills and becoming exhausted while just sitting and listening.

The moment is when the upper voices have a rising line on _Her--_, seeming to hit the very highest point, I feel, _anywhere_ else in the piece. This rise is ever so brief, and falls back by quarters to _-ren dem Herren..._. Yet(!), while the upper voices fall back, the lower registers make their way up on _toten die in dem Her--_, reaching respectively high, and falling back down for the entire chorus to resolve on a grand, expansive Major F, the strings pizzicato, harp closing. It is unparalleled, that moment (which is foreshadowed in the close of the first movement, but not wielding the weighty nature quite yet). I am not opposed to hearing these few measures, played in the open and to close, as a summation of the entire _Requiem_, of the general feeling involved here. It is a memorable, defining moment of this piece, and of all choral music.

2. The fugues - The fugue in the third movement coming on is like a weighty gale sweeping you up, out, and beyond, but _within _too. So, I suppose, just a gale, devouring your soul. Devouring all things.

And then, though, the sixth's fugue. Talk about a gale. This is like, when it starts, like a complete rage, rejection, and rejection by chaos, but strict, precise, dictated order of demand and destruction. Pinpoint passion. The movement, as a whole really, is just a megaton bomb. Mouth agape, eyes wide, gripping arm rests -- FUGUE YO.

3. The Fifth movement, in toto - The "mother's" voice. Truly a unique thing.

The baritone (Mogan Smith) was stunning. I don't think I've heard a tenor with that large of a voice, just reverberating and echoing and piercing. Amazing stuff. Also, his face, during the fifth movement, and just the rest of the music actually, was so fitting. Curling, squinting, smirking, wincing -- the subtle signs of FEELING MUSIC.

_Obligatory rant on audience etiquette_: It is common knowledge that following a Requiem, a silence ensues, for an unknown though clearly deliberate period of time. In fact, even in the present case, the conductor (and artistic director) wished to dedicate the performance to all the suffering and death in the world at the moment -- for that is what *Ein Deutsches Requiem*, and other great art, does; it comforts and bonds. It is necessary.

So, even with that, and the common knowledge of the music-goer, the closing MF chord is ringing and some cat way up in the rafters at like maybe two seconds of silence starts a slow clap that was actually rejected for a good few seconds, and potentially a hiss I heard back behind my right on the lower levels, but seemed to spread without much opposition. I opened my eyes and saw the conductor rubbing his head, looking slightly disappointed. Or, maybe, he was just exhausted and happy with the performance. I think, honestly, it was a little of both, because how can you not be annoyed when a piece like that ends -- ending as it does -- and there is absolutely _no silence_ for reflection to follow. It just felt so wrong.

This is music you should just sit and maybe meditate, and then get up and walk away, reflect, focus on the relative, dig deep, and (metaphorically) elevate and dissolve.


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## starthrower

I bought tickets for two concerts at this year's Skaneateles Festival in August on the Finger Lakes in upstate New York. http://skanfest.org/


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## Judith

Went to see Steven Isserlis performing with Connie Shih last week. Had a chat with him during interval and got his autograph. Couldn't believe I did that!!


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## Bryn Dizzy

I'm off to two (so far..) Proms concerts at the Royal Albert hall next month: Bartok's Bluebeard's Castle on the 3rd, and Mahler's Das Lied von der Erde on the 16th. Possibly Das Lied is my favourite Mahler, and I've never heard it live before. Alice Coote is the mezzo, who also sings Octavian in the ROH's forthcoming Der Rosenkavalier (December), which I'm also planning to attend. 
There's another performance of Das Lied at the Festival Hall, November I think, only it's the tenor/baritone version this time. It's possible I can get to that, although I'm rapidly running out of annual leave........
I'm managing to squeeze in a visit to Tate Britain for the Painting With Light Exhibition before the Bartok Prom. Should be a very pleasant afternoon and evening. Busy month, August!


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## Avey

*Razumovsky Quartets*
_Dover Quartet 
(Chamber Music Northwest Summer Festival)_

I suppose this is retrospective, but hearing the *Op. 59* set all in one evening is pretty much a rare opportunity. And the Dover Quartet, who I get to see annually at this festival, is quickly becoming one of my favorites, and they should soon be recognized through their recordings/performances.

So, the performance was altogether mesmerizing. And I actually have little to relay in terms of frustration or reverence.

It's great hearing music for the first time, but it is even greater hearing music you know very well live and performed precisely. And the greatest is when a set like this is performed consecutively, so you hear the real music in LvB during that period of his life, how they share similarities, but also massive differences. There is something profound in the musical conversation going on with a quartet, and listening/watching the DQ do all three of this set together is like having your ear to the keyhole as opposed to the wall.

Also, I realized how much I have overlooked the middle one, No. 2, which I always heard as a slight misfit, but maybe its Cinderella. That adagio is just one of the greatest things.

Oh, and pardon my ignorance of history, but I hope Razumovsky, the person, the ambassador, was not some sort of cruel despot, because his name as I know it is forever set in time by these quartets, which is a wonderful thing to be remembered by.


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## clockworkmurderer

Haven't had much time to post around here lately; not that I'm complaining. I heard two concerts though at the beginning of July. The first was an Organ concert consisting of JS Bach, Felix Mendelssohn, August Ritter, and Max Reger. I preferred the older pieces, but in all the concert was wonderful. I had goosebumps pretty much the whole time. The second concert was orchestral, and consisted of Hector Berlioz, Johannes Brahms, and Robert Schumann. That concert was also wonderful, and I loved every second of it.


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## gHeadphone

Im going to Prom 15 on Tuesday

Tchaikovsky - The Tempest 18’
Anthony Payne - Of Land, Sea and Sky c20’ 
Bruch - Violin Concerto No. 1 in G minor 24’
Vaughan Williams - Toward the Unknown Region 12’

Ray Chen violin
BBC Symphony Chorus
BBC Symphony Orchestra
Sir Andrew Davis conductor

Can't wait for the atmosphere and beautiful sounds

Any other prommers going?


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## Taggart

Friday 22nd July - Best of the first 10 Years - St Stephen's Church Norwich

Now we are ten - and determined to show how good we are. Norwich Baroque picked an excellent selection of old favourites for this concert and played with gusto, aplomb and style. They also included two pieces from the Losh-Atkinson competition.

They started with a concerto by Vivaldi - RV168. This was a nice introduction. By the time we got into Handel's Concerto Grosso Op 6 No.1 they were thoroughly warmed up. This was a lovely piece with some delightful interplay between the violins. We then had Purcell's Chacony. This is a fine earlier example of this common baroque form, demonstrating a mastery of this popular ostinato variation style, which grows in power and interest with each repetition of the same eight-bar phrase and Norwich Baroque did it proud.

The first half finished with _Fantasia Fugata_ by Patrick Gardner - the winner of the Losh-Atkinson competition. Mr Gardner is an English composer whose _Passion according to Schäflein_ was featured on Radio 3 in 2011. _Fantasia Fugata_ was 'clever stuff'. It was an artfully broken kaleidoscope of baroque patterns played in dissonant or minor keys but not to my taste. It was obviously groundbreaking and clear to see why it was chosen as the winner.

The second half began with some Avison - the Concerto in 7 Parts after Domenico Scarlatti no 11. This was sprightly, lively and enhanced by fine vrtuosic touches by the director - Jim O'Toole. Then we had the air from Bach's 3rd Orchestral Suite. This was taken at a fast pace in contrast to the Hamlet advert and showed more clearly the beauty of the melody. Matching Handel we now had some Corelli - Concerto Grosso Op 6 No.2 this time. This was full of playful sprigs, poignant melodies, exhilarating allegros. The musicians gave it their all and it was the highlight of the evening.

We finished with _Farewell_ by Jens Lohman - the runner-up in the Losh-Atkinson competition. Technically there isn't a runner up prize but when this was performed at a Friends of Norwich Baroque reception somebody decided to reward it. This was obviously an audience favourite & warmly applauded. Although it contained Baroque themes, it sounded ike an early twentieth century overture by a middle European composer. Norwich Baroque played it with flair and conviction.

We had a thoroughly enjoyable evening.


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## Radames

Got to see a live performance of Mascagni's Iris Wednesday at Bard College with Botstein conducting. Such beautiful music!


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## Judith

Went to see Steven Isserlis at a recital recently. Was performing with Connie Shih. Managed to have a chat with him and got my Elgar CD autographed. They performed
Debussy Cello Sonta
Kabalevsky Cello Sonata
Ades Lieux Retrouves
Clara Schumann Romances
Beethoven Cello Sonata No 3

Sorry, didn't realise already posted. Here is a revised edition with more detail lol.


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## corndogshuffle

Going to see La Boheme at the Filene Center in Vienna, Virginia this evening. I've never seen an opera in an outdoor venue (I've never seen an opera anyway... I've only ever performed in the pit orchestra) but I love this place and think it will work well.


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## Poodle

corndogshuffle said:


> Going to see La Boheme at the Filene Center in Vienna, Virginia this evening. I've never seen an opera in an outdoor venue (I've never seen an opera anyway... I've only ever performed in the pit orchestra) but I love this place and think it will work well.


Did you enjoy it?


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## corndogshuffle

Poodle said:


> Did you enjoy it?


It was great! The National Symphony played the orchestra part (which I was not expecting) and Marcello was played by one of my best college friends, which was one of the reasons I wanted to go. The sound was not a problem at all, I wish I had been closer because it was a little difficult to read the captions but I knew that was going to be a problem based on where I was sitting.

I was also a little worried that airplanes would be an issue because of how close Dulles Airport is, but that was never a problem either. The only outside noise that was ever loud enough to be distracting was an ambulance that drove by right as everybody was gathering around Mimi's deathbed.


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## Guest

I went to a Music at Menlo (Menlo Park, CA) concert last week. The artists performed Brahms String Quintet No.1, Prokoviev's Flute Sonata, and Taneyev's mighty Piano Quintet. Superb performances.


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## Autocrat

Next month I am going to see Nelson Freire play Schumann's Piano Concerto with the Sydney Symphony Orchestra at the Opera House. Also on the programme are the Coriolan Overture and Rach's second symphony. 

Should be good.


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## perempe

I attended László Fassang's organ concert in Miskolc on Sunday. We sang psalms for about 20 minutes then the concert started. He played pieces (Bach - Prelude and Fugue in C minor, BWV 546; Liszt - Prelude and Fugue on BACH, Mendelssohn - Organ Sonata No. 3 in A major), then he improvised on the themes 4 children sang. It was a great concert despite I'm a orchestra/opera fan.


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## senza sordino

This past week I attended two different chamber music concerts, and both were smashing. 

Last Tuesday I heard in concert the Escher Quartet perform 
Schubert Quartettsatz
Schoenberg Quartet no 1
Mendelssohn Quartet no 3

I went specifically to hear the Schoenberg as I haven't heard any of his music live before. It was intense and riveting. They played it so well, and held their concentration for the duration (all four movements are playing without pause), and my concentration didn't wander either. It was great. I enjoyed the Schubert and Mendelssohn too. Damn good performance all around.

Friday night I heard our local professionals play an all Beethoven programme 
Violin Sonata no 8 in G
Cello Sonata no 3 in A
Piano Trio no 5 in D Ghost

I took my friend / work colleague and it was his first chamber music concert. He really enjoyed it. It wasn't the first time he'd been to a classical music concert. But at a chamber music concert he said he could see the communication between players, observe the technique and hear the individual voices so much more clearly. 

In both concerts I was sitting close enough to see the technique. I'm always so impressed with their bow control. I can move my fingers quickly across the finger board, but my greatest weakness as a player is bow control. In a chamber music concert I'm close enough to see it, close enough to see them rosen fly, close enough to see where the bow is placed on the strings.


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## Gordontrek

Over the weekend I went to the Huntsville Symphony's opening night for this season. Dvorak's In Nature's Realm, Smetana's Ma Vlast, and Faure's Requiem. Fantastic.


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## Templeton

I attended a sensational performance, last night, of the Royal Liverpool Philharmonic Orchestra, led by Vasily Petrenko. This was part of the orchestra's full Beethoven cycle and encompassed performances of the Pastoral, 7th and 8th Symphonies.

The Pastoral got us off to a very fine start, with no signs that the orchestra was holding back for their subsequent endeavours.

The Seventh was a revelation, a sumptuous, magnificent and very personal reading of what is my favourite symphony. Petrenko led the final movement at the fastest tempo that I have ever heard for the 7th, whilst still maintaining the quality and enjoyment of one of the finest movements in the repertoire. I don't know how they managed it but they absolutely nailed it. Truly, a revelation.

I have to say that I was somewhat anxious that the Eighth might prove to be an anti-climax, as I had always previously considered it to be an enjoyable but less significant work than the more popular Beethoven symphonies. How wrong I was!

What a glorious work, full of passion, numerous gorgeous melodies and delightful surprises. The fourth movement was yet another revelation, surely one of the finest compositions out there and what a truly wonderful climax to an unforgettable evening. Another poster, whose identity escapes me, commented recently that it was his favourite Beethoven symphony and I now understand why. There is also another thread running currently, which is contrasting live performances and recordings and I think that this provides a perfect example of how a live performance can sometimes reveal things that can be missed in recordings.

The cycle concludes on Sunday with the glorious Ninth, which unfortunately I will miss, although I did witness a magnificent performance of this by the same parties, last year. Anybody who is going, this weekend, is certainly going to be in for a real treat.

I have seen Petrenko several times now and he just seems to be going from strength to strength and still only forty, so there's a long way to go still. At this rate, he could truly become one of the greats, as he seems to have everything.


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## Autocrat

Autocrat said:


> Next month I am going to see Nelson Freire play Schumann's Piano Concerto with the Sydney Symphony Orchestra at the Opera House. Also on the programme are the Coriolan Overture and Rach's second symphony.
> 
> Should be good.


It was, as it transpired, good.

Review by someone who swallowed a book of classical music review cliches: http://www.limelightmagazine.com.au/live-reviews/review-nelson-freire-sydney-symphony-orchestra


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## Radames

I got a FREE ticket to the Montreal Metropolitan Orchestra last night. Hélène Grimaud playing Bartok 3rd concerto and then Yannik conducted the Mahler's 5th. Front row!



Templeton said:


> I attended a sensational performance, last night, of the Royal Liverpool Philharmonic Orchestra, led by Vasily Petrenko.


I head Petreko conduct Mahler's 1st in Montreal last season. Great stuff - way better than the slow motion version I got from Haitink in Boston.


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## Judith

Went to see Tchaikovsky Symphony Orchestra last night with Jennifer Pike as soloist.
Conductor Vladimir Fedoseyev

Polovtsian Dances Borodin
Violin Concerto Sibelius
Symphony no 5 Tchaikovsky

Encore
Enigma Variations Elgar
Spanish Dance Tchaikovsky

The orchestra were previously known as 
Moscow Radio Symphony Orchestra.

Such an amazing performance but annoying when people were leaving before encores. Think its disrespectful to Orchestra. What does anyone else think?


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## Judith

Judith said:


> Went to see Tchaikovsky Symphony Orchestra last night with Jennifer Pike as soloist.
> Conductor Vladimir Fedoseyev
> 
> Polovtsian Dances Borodin
> Violin Concerto Sibelius
> Symphony no 5 Tchaikovsky
> 
> Encore
> Enigma Variations Elgar
> Spanish Dance Tchaikovsky
> 
> The orchestra were previously known as
> Moscow Radio Symphony Orchestra.
> 
> Such an amazing performance but annoying when people were leaving before encores. Think its disrespectful to Orchestra. What does anyone else think?





Radames said:


> I got a FREE ticket to the Montreal Metropolitan Orchestra last night. Hélène Grimaud playing Bartok 3rd concerto and then Yannik conducted the Mahler's 5th. Front row!
> 
> I head Petreko conduct Mahler's 1st in Montreal last season. Great stuff - way better than the slow motion version I got from Haitink in Boston.


Do you mean Vasily Petrenko?


----------



## Judith

Judith said:


> Went to see Tchaikovsky Symphony Orchestra last night with Jennifer Pike as soloist.
> Conductor Vladimir Fedoseyev
> 
> Polovtsian Dances Borodin
> Violin Concerto Sibelius
> Symphony no 5 Tchaikovsky
> 
> Encore
> Enigma Variations Elgar
> Spanish Dance Tchaikovsky
> 
> The orchestra were previously known as
> Moscow Radio Symphony Orchestra.
> 
> Such an amazing performance but annoying when people were leaving before encores. Think its disrespectful to Orchestra. What does anyone else think?





Templeton said:


> I attended a sensational performance, last night, of the Royal Liverpool Philharmonic Orchestra, led by Vasily Petrenko. This was part of the orchestra's full Beethoven cycle and encompassed performances of the Pastoral, 7th and 8th Symphonies.
> 
> The Pastoral got us off to a very fine start, with no signs that the orchestra was holding back for their subsequent endeavours.
> 
> The Seventh was a revelation, a sumptuous, magnificent and very personal reading of what is my favourite symphony. Petrenko led the final movement at the fastest tempo that I have ever heard for the 7th, whilst still maintaining the quality and enjoyment of one of the finest movements in the repertoire. I don't know how they managed it but they absolutely nailed it. Truly, a revelation.
> 
> I have to say that I was somewhat anxious that the Eighth might prove to be an anti-climax, as I had always previously considered it to be an enjoyable but less significant work than the more popular Beethoven symphonies. How wrong I was!
> 
> What a glorious work, full of passion, numerous gorgeous melodies and delightful surprises. The fourth movement was yet another revelation, surely one of the finest compositions out there and what a truly wonderful climax to an unforgettable evening. Another poster, whose identity escapes me, commented recently that it was his favourite Beethoven symphony and I now understand why. There is also another thread running currently, which is contrasting live performances and recordings and I think that this provides a perfect example of how a live performance can sometimes reveal things that can be missed in recordings.
> 
> The cycle concludes on Sunday with the glorious Ninth, which unfortunately I will miss, although I did witness a magnificent performance of this by the same parties, last year. Anybody who is going, this weekend, is certainly going to be in for a real treat.
> 
> I have seen Petrenko several times now and he just seems to be going from strength to strength and still only forty, so there's a long way to go still. At this rate, he could truly become one of the greats, as he seems to have everything.


Saw them last year. One of the best concerts I had been to. They were amazing!!


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## TurnaboutVox

The Choral Pilgrimage 2016: Cathedral Church of Blackburn
Saturday 8 October 2016

*
The Sixteen*
Harry Christophers conductor

Programme
Byrd - Diliges Dominum
Byrd - Christe qui lux es et dies
Arvo Pärt - The Deer's Cry
Byrd - Emendemus in melius
Arvo Pärt - The Woman with the Alabaster Box
Byrd - Miserere mihi Domine
Byrd - Ad Dominum cum tribularer

Tallis / Byrd - Miserere nostri
Tallis - When Jesus went
Byrd - O lux beata Trinitas
Arvo Pärt - Nunc Dimittis
Byrd - Laetentur coeli
Byrd - Tribue, Domine

Magnificent performances in the interesting and beautiful early 19th century / modern Cathedral church of Blackburn, Lancashire which has fine acoustics for such a concert of unaccompanied choral works. The Pärt pieces dovetailed nicely with the Byrd and Tallis.

This was also very much more to the taste of Mrs. Vox than is my usual fare.


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## Kivimees

Yesterday's afternoon concert:

Guest performance by the Uppsala Chamber Orchestra (Conductor Paul Mägi), Ellen Nisbeth (viola)

Beethoven: Opening of "Die Geschöpfe des Prometheus"

Grieg: "Peer Gynt" suite

Bruch: Romance for viola and orchestra

Paganini: "La Campanella" (arranged for viola)

Stenhammar: Senerade


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## Radames

Kivimees said:


> Yesterday's afternoon concert:
> 
> Guest performance by the Uppsala Chamber Orchestra (Conductor Paul Mägi), Ellen Nisbeth (viola)
> 
> Beethoven: Opening of "Die Geschöpfe des Prometheus"
> 
> Grieg: "Peer Gynt" suite
> 
> Bruch: Romance for viola and orchestra
> 
> Paganini: "La Campanella" (arranged for viola)
> 
> Stenhammar: Senerade


You lucky DOG! You got to hear Stenhammar in concert. I have never seen a Stenhammar work on a program anywhere in the NE US or SE Canada. Even when Neeme Järvi came to conduct the Montreal Symphony there was no Stenhammar on the program.

The good news for me is that I got ANOTHER free ticket yesterday - to the Portland ME Symphony. Really good orchestra - the hall has a great acoustic shell and a BIG organ. Good sized 86 person orchestra too. Very awesome Pine of Rome with 8 brass players in the balcony. I was right up front getting blasted in stereo by the brass.

Like the other night in Montreal someone couldn't use a ticket and left it at the box office. I got it - at the very last minute. It was a nightmare getting to Portland. Traffic - and then just as I was getting into town there was a train stopped in front of me on the tracks. I spent 10 minutes detouring around it. Got to my seat literally 60 seconds before the performance started.


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## Kivimees

Radames said:


> You lucky DOG! You got to hear Stenhammar in concert. I have never seen a Stenhammar work on a program anywhere in the NE US or SE Canada. Even when Neeme Järvi came to conduct the Montreal Symphony there was no Stenhammar on the program.


Woof! Woof!

Our local conductor, Paul Mägi, has strong contacts in Sweden, so we have a lot of Swedish influence on the guest performers and programmes.

http://www.emic.ee/paul-magi


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## Avey

*Elgar Cello Concerto*
Seattle Symphony, Xavier Phillips sol.

*Strauss* - _Waltz No. 1 from Der Rosenkavalier_
*Elgar* - _Cello Concerto_
*Dvorak* - _Symphony No. 5_

I took my dad to the concert, who had only been to a handful of classical concerts. He is not particularly familiar with classical music -- all is relative here I suppose -- though he does play sax, knows music theory, and broadly speaking, is a big fan of music.

And so when we were walking out of the concert discussing the performance, he asked me _The last one -- Antonin, right? -- he must be long in the tooth_, and I ask _Why is that?_ _Well_, he answers, _the piece wouldn't end; he just kept going and didn't know how to finish it._ He is obviously much older than I, so maybe I am not connecting there. But I responded that _he said precisely what he meant to say._

And when we were at intermission, following the concerto, he told me that the piece was _bleak_ and _depressing_. He found it too dark and dreary. I told him _Good -- that means you were affected, and that is what music should be doing._

And he thought the choice of an encore -- Britten's serenada from the first suite -- didn't make sense, and wondered how anyone could get into that single movement out of context. I commented, _Because plenty of people like me, including Mr. Phillips, adore Britten's music_, and kept to myself: Where else do you get to hear a Britten cello movement as an encore?

And when the orchestra finished the first piece, he picked up that it was a waltz, without knowing the program and felt quite proud of himself.

And when we just entered the hall, he asked whether people still write classical music today. I rambled, but summarily answered _Yes._

A fine evening.


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## Avey

*Beethoven Quartets Op. 18/4, Op. 59/3, and Op. 130 /w Grosse Fuge*
_Emerald City Music - Dover Quartet_

This being the third time I have seen the Dover Quartet live, and second time seeing LvB's Op. 59/3 with them, I will avoid rambling. I must say, however, that it was nice hearing them talk between pieces, which I haven't heard before. I am generally one to denounce the pre-concert discussions -- and will not relay the reasons for the unteenth time here -- and even here, they didn't particularly say anything anyone here is not aware of regarding this music, but it was nice to get their opinions on a single movement here or there.

The real kicker is obvious, because I've seen Op. 130 two other times, and the Fuge is avoided. This was the first time seeing and hearing the work live in full. As anticipated, the performance was one where I cannot quite put into words how remarkable the music is -- not necessarily how it comes off the players' strings, but just consuming the music, _again_, but now seeing and breathing it there. Live music, especially that which you already appreciate and love, takes on an evolved form, like it shows something that was hidden from all those hundred of other previous listens. Maybe it is just the prolonged thinking of the work. I don't know.

But I do know that the E-flat chord is one of those moments impressed on my mind and those notes appear in my head on the most random occasions, like a reminder.









My family came with me -- and see above, that my Dad (and brother) were not entirely excited by it. The Mother, however, was taken aback and thought both Op. 59/3 and 130 were remarkable. She was stunned with the Fuge and its (way beyond) four-layered lines and distinct voices. She was stunned that it resolves. She even thought it was telling that the "harshness" comes after "the slow movement." She wanted to know when Dover would be touring near her. She also preferred quartets to symphony, she found.

And I agree, on all fronts.


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## Kivimees

Yesterday evenings chamber concert:

Sisters Triin (violin) and Kärt (piano) Ruubel played

Mozart violin sonata 21
Faure violin sonata 1
Frank violin sonata
Ravel Tzigane

Mrs Kivimees was attending the theatre, so my daughter joined me.


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## Guest

Pianist Denis Matsuev this afternoon in Berkeley. His program:

Beethoven Sonata No.31
Schumann Symphonic Etudes
intermission
Liszt Mephisto Waltz
Tchaikovsky Meditation
Prokofiev Sonata No.7

OK, I've been to hundreds of recitals, but I have never seen such a jaw-dropping display of virtuosity--ever! I'm pretty sure neither Horowitz, Richter, Gilels, nor Berman could whip up the intensity that he did in the Liszt and Prokofiev--and with astounding accuracy. The last movement of the Prokofiev was positively frightening in its brutality near the end. This is not to say that he can't play quietly, too, as the Beethoven was as sublime in the quiet passages as anyone could want. He also played three encores: Liadov, Sibelius, and his own indescribably insane take on the jazz standard "Take the A Train." It brought the house down...again.

It may take a day or two to recover from it.


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## TurnaboutVox

Bridgewater Hall, Manchester, UK
Thursday 27 October, 7.30pm

*Copland - Fanfare for the Common Man
Britten - Sinfonia da Requiem
Tippett - A Child of Our Time*

Hallé Orchestra and Choir, cond. Ryan Wigglesworth 
Sophie Bevan, soprano; Jennifer Johnston, mezzo-soprano; Mark Padmore, tenor; Matthew Brook, bass-baritone


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## Avey

*New World Season Opening*
_Symphony Tacoma_

*Polovtsian Dances from Prince Igor*, _Borodin_

The choir was out -- which is always unusual, having the choir out for a single < 20 minute piece and then not returning. It was pretty remarkable to kick off the season (and their "rebranding" season at that) with this. Solid, but nothing earth-shattering. Nothing is though. Unless you're like in the right state of mind -- and I was not. For this piece, at least. Just saying, I wasn't in like a bad mood. I just liked the music, not blown away by it. Solid.

I was in a good mood, people.

*Fratres*, _Part_

I don't really feel a need to spin words onto the thing, because it's such an incredibly unique piece (despite its simplicity). But the way Gluzman begins, he starts nearly inaudible -- which was something I hadn't heard on recordings I have. That was special, and fitting, I found.

Beyond that, the specificity in his performance was remarkable. It was so crisp and direct, and the sound was absolutely radiating even with the strange hall structure (e.g., upper tier balcony, third floor, was tight with a very short ceiling [built a third floor long after initial construction], so the upper five or so rows had a partially blocked view of the upper stage -- just bizarre looking) that had installed a solid background for the orchestra, because all that was there originally was silk sheets (place was under construction, I believe). *Point being*: Gluzman almost pacing back-and-forth, eyes closed, just radiating the notes that portend whatever _You Are Thinking, Sir_. Such a reflective thing, and it is incredibly bizarre how it makes me (you) feel.

*Violin Concerto*, _Glazunov_

Interesting cat -- and silly that I only think about one member's persistent adoration and support for him -- and I do enjoy a number of his works, but the violin concerto has never really attracted me. The final movement, being that bright, rondo-esque thing, is wonderful and immediately recognizable. But the prior 15 minutes or so evade me. I was really focusing here on the interplay, and maybe just getting too far into the aural weeds. Nothing really sprang up for me, even seeing it live (and, as above, with this soloist).

*Ninth*, _Dvorak_

_See else_

Though, I must add: At the conclusion of the scherzo, I heard (and witnesses, technically) my first clearly audible mistake. In the final few measures, the horn went off time, and some of the strings came _staccato_ too early. The principal (or 2nd) horn, in fact, was off in several parts in the symphony. Is there a word for when the horn sputters out? That word, like three or four times during that night. Bad night, or instrument malfunction? I'd love to hear a horn player's perspective.

Also, because of the orchestra's rebranding this year (70+), I actually really like the semi-cliche "new world" thing they went with. Orchestras have to go with the works that draw audiences -- at least for the majority of their performances -- if they hope to remain viable. For us folks, obvious drawbacks there, but not always -- because we like warhorses, too. Well, I think most of us do, at least we pick and choose those that we like.

For me, New Name, New Symphony, New World -- whatevs, bring on that Old Ninth!


----------



## Gordontrek

Right here in my hometown of Huntsville: the Philadelphia Brass quintet. 
Played the music of Bach, Susato, Higdon, Sampson, Weill, Copland, Ellington, and others. It was really a fabulous concert. The level of musicianship between all five was very impressive.


----------



## Avey

*Hilary Hahn*, Recital

*Bach*, _Violin Sonata No. 6 in G_
*Mozart*, _Violin Sonata in Eb, K. 481_
*Abril*, _Solo Partita No. 4 "Art"_
*Turk*, _Traume ("Dreams")_
*Schubert*, _Rondo in B Minor, D. 895_

Ms. Hahn is one of the performers on my checklist (necessary performers & pieces) -- and another one is coming this Friday. She was remarkable, and I wanted to pick out something to be like, Oh, I wish she did this. But HH has this specificity in her playing and demeanor, like she was born and obligated to play the violin. Just pure business, and the business is passion.

She wore glasses during the performance, which I had never seen before. When she walked out -- and walked on and off with the most insouciant aplomb -- bowing to the audience, smiling, then casually donning the lenses, me up in the second tier, box seating (which is less expensive, for some reason, than front 16-row-floor seats, because of the obscured view of the stage sides, but this afternoon, who needs low strings, you understand) just staring at her for like almost 2 hours, elbows on knee, hands on chin, wild-eyed, the Dumb Thinker, was particularly taken aback b/c "Wait, she is reading the music?" Which she didn't look like she was at all, moving around. And some of these pieces *I KNOW* she didn't need music too, because I'd seen it performed eyes shut elsewhere (videos, etc.). The glasses were unremarkable and the frames look appropriate, however.

For some reason, the programmer felt that the pianist (who, Levin, is wonderful and remarkable in his own right, but *no one* shelled out the required $$$ to see him perform) needed a solo work. That ticked me off, slightly. But Hilary just prepped and rested for the Rondo, which was [******] stunning and blew me away.

Encores turned to *Max Richter *"Mercy" and *Lili Boulanger*'s "Cortège"

Then life goes on, after her really bright performance, the really bright memories, and the really bright pixels, whereby I am just listening to her recordings...


----------



## Skilmarilion

Two recent attended gigs, below. Both highly affecting and memorable.

Oct 13, London

*Mozart* Fantasy in D minor, K379
*Tchaikovsky* Piano Trio in A minor

Sitkovetsky Piano Trio

Oct 21, London

*Gibbons* The Silver Swan
*Strauss* Four Last Songs
*Brahms* Ein deutsches Requiem

Crouch End Festival Chorus
David Temple conductor
Erica Eloff soprano
Benjamin Appl baritone
London Mozart Players


----------



## Vaneyes

Kontrapunctus said:


> Pianist Denis Matsuev this afternoon in Berkeley. His program:
> 
> *Beethoven Sonata No.31*
> *Schumann Symphonic Etudes*
> intermission
> Liszt Mephisto Waltz
> Tchaikovsky Meditation
> *Prokofiev Sonata No.7*
> 
> OK, I've been to hundreds of recitals, but I have never seen such a jaw-dropping display of virtuosity--ever! I'm pretty sure neither Horowitz, Richter, Gilels, nor Berman could whip up the intensity that he did in the Liszt and Prokofiev--and with astounding accuracy. The last movement of the Prokofiev was positively frightening in its brutality near the end. This is not to say that he can't play quietly, too, as the Beethoven was as sublime in the quiet passages as anyone could want. He also played three encores: Liadov, Sibelius, and his own indescribably insane take on the jazz standard "Take the A Train." It brought the house down...again.
> 
> It may take a day or two to recover from it.


WOW to that.


----------



## Guest

^^^ Yeah, if nothing else, he's a great number of notes to ticket cost value! But believe me, he's much more than that.


----------



## Guest

I heard the Las Phil with Dudamel tonight playing Mahler's 9th. Wow, what a searing performance. At the end, after the final fragile notes, he held the hall for at least two solid minutes of silence before slowly lowering his baton. At first, I thought he simply didn't want any applause! It was one of the most extraordinary moments that I've experienced in a concert.


----------



## Avey

*Mahler's Ninth*
_Dudamel, LA Phil_

_..._


----------



## KenOC

Dudamel seems to be a huge Mahler fanboy. Two or three years back he conducted two complete Mahler cycles in one season, one in LA and the other in Caracas. All with no score.


----------



## Biwa

Sergei Prokofiev - Romeo and Juliet (ballet)


----------



## Guest

Avey said:


> *Mahler's Ninth*
> _Dudamel, LA Phil_
> 
> _..._


Did you like it?


----------



## Judith

Went to see Steven Isserlis with Connie Shih again last night. Managed to meet him again and get my programme autographed. Amazing recital and amazing guy. Connie was very good too!! Loved every minute of it!


----------



## jegreenwood

(Already mentioned on the Bach Keyboard thread)

A pair of Bach recitals by Angela Hewitt - the first two in her 4 year survey of his keyboard music.

1) 2 and 3 Part Inventions plus some shorter works:

Fantasia in C minor, BWV 906
Aria Variata “alla Maniera Italiana”, BWV 989
Capriccio on the Departure of his Beloved Brother, BWV 992
Capriccio in E major, BWV 993
Fantasia and Fugue in A minor, BWV 904

Encore - Aria from the Goldberg Variations

2) The 6 French Suites

Encore by Rameau

Playing was exquisite, but I think it would have been better to mix the programs us a little. By the 25th Invention, I was losing focus. Three Suites and one Set of Inventions (plus filler) each evening might have been preferable.


----------



## SixFootScowl

Yesterday evening:

Berlin Philharmonic, Simon Rattle, at Hill Auditorium on the campus of the University of Michigan.

Boulez Éclat

Mahler Symphony 7

Wonderful concert. I thought the Eclat was interesting but nothing I would go out of my way to listen to, yet during Mahler's 7th I realized that the Eclat seemed to raise my awareness of the various instruments and that it was a good thing in light of the Mahler symphony with so many interesting sounds in it. (It seemed that I heard a lot more nuances of the symphony live than I recall hearing on recordings).

Anyway, it was interesting to pull up an article on Rattle's tour and see this about the Eclat:



> Rattle likes to bring out the affinities between apparently disparate things, and the sensuous guitar-and-mandolin flavoured sound-world of Boulez's piece certainly found its echo later in Mahler's symphony.


http://www.telegraph.co.uk/music/cl...-and-the-berlin-philharmonic-made-mahlers-pu/


----------



## Pugg

Florestan said:


> Yesterday evening:
> 
> Berlin Philharmonic, Simon Rattle, at Hill Auditorium on the campus of the University of Michigan. I thought the
> 
> Boulez Éclat
> 
> Mahler Symphony 7
> 
> Wonderful concert. I thought the Eclat was interesting but nothing I would go out of my way to listen to, yet during Mahler's 7th I realized that the Eclat seemed to raise my awareness of the various instruments and that it was a good thing in light of the Mahler symphony with so many interesting sounds in it. (It seemed that I heard a lot more nuances of the symphony live than I recall hearing on recordings).
> 
> Anyway, it was interesting to pull up an article on Rattle's tour and see this about the Eclat:
> 
> http://www.telegraph.co.uk/music/cl...-and-the-berlin-philharmonic-made-mahlers-pu/


Lucky you, was it sold out?


----------



## SixFootScowl

Pugg said:


> Lucky you, was it sold out?


Suspect so. Place was packed. I wonder if the turnout for the Budapest Festival Orchestra with Beethoven's Ninth next February will be as big of a turnout. We do have two Beethoven Ninths next year. Detroit Symphony Orchestra is also doing it (and I think maybe even another in Toledo Ohio).


----------



## Haydn man

Royal Liverpool Philharmonic 
Brahms VC with Nicola Benedetti as soloist
Sibelius symphony No.1
Robert Trevino conducting
The RLPO seemed on fine form but I am not sure about the soloist. I am no expert but I thought there were a few fluffed notes in there. She certainly seemed to give her all but it just seemed not to flow at times. Enjoyable non the less
The Sibelius was superb in an energetic committed performance that really demonstrated the orchestra at their best and energetically directed by Trevino


----------



## Vaneyes

Bartoli has cancelled her Nov. 25 concert at Barbican (cold), so here's a Q/A instead. :tiphat:

https://www.theguardian.com/music/2016/nov/21/facing-the-music-mezzo-soprano-cecilia-bartoli


----------



## TurnaboutVox

My annual pilgrimage to the Huddersfield Contemporary Music Festival, as usual accompanied by my student son Rob, who is an enthusiast for contemporary art music of all sorts.

*
Ailie Robertson, harp*

Scottish composer, improviser and experimental musician Ailie Robertson uses harp and electronics to create works that span contemporary-classical, free jazz, folk and improvised music and sound art. Using layers of extended techniques, preparations and electronic processing, the familiar sound of the harp dissolves into the unfamiliar, taking the intimate and beguiling sound of the harp far from of its angelic connotations, into a canvas of scattered beats and pixelated timbres.

It was a weird and wonderful, but actually very interesting, recital. Ms Robertson spoke to introduce and explain the inspiration for each of her works, which I think was illuminating.
*

Quatuor Diotima*
Yun-Peng Zhao, violin; Constance Ronzatti, violin; Franck Chevalier, viola; Pierre Morlet, cello
*
Sam Hayden - Transience
Enno Poppe - Buch*

"Buch for string quartet is written in memory of Pierre Boulez. His Livre pour Quatuor is one of the most amazing, longest, unwieldy, incomprehensible and overpowering string quartets that I know of. Even though this piece has occupied me for the last 20 years, I have yet to find the key to unlocking it. Buch
is definitely not the key, but rather a search and tribute. It is dedicated to the Quatuor Diotima. 
© Enno Poppe (translation DICE)

The Quatour Diotima are a superb ensemble who seem completely at home in the contemporary string quartet repertoire. Poppe is a new composer to me but this was a thoroughly engrossing and substantial work. A superb recital.


----------



## Oliver

I have been so spoilt this weekend!

Saturday: Brahms, Ein Deutches Requiem, St Georges Singers. 
Very good choir, and exceptional orchestra and soloists.

Sunday: Wagner, Das Rheingold, Hallé Orchestra, conducted by Sir Mark Elder
Exquisite.


----------



## perempe

I attended a concert on Monday (in Miskolc). The guitar was amplified. is it always amlified? 

(Joaquín Rodrigo's Fantasia para un Gentilhombre, then some solo works. the last piece was Concierto de Aranjuez.)


----------



## tdc

perempe said:


> I attended a concert on Monday (in Miskolc). The guitar was amplified. is it always amlified?


Usually there is a microphone placed near the guitarist, but I have not ever seen a concert where the guitar is plugged into an amp. 
Though I think in some venues nowadays some classical guitarists do amplify.


----------



## Guest

I drove 400 miles to hear Daniil Trifonov and the LA Phil with Dudamel perform Rachmaninoff's 3rd Concerto--wow! I have 7 or 8 recordings and have heard it live many times, but never as thrillingly as last night! Not only was the bravura all one could ask for, but Trifonov brought out all sorts of inner voices/counterpoint that I've never heard before. He played the more massive cadenza and made it sound orchestral. It was a bit slower than some play it, but I think it gained intensity and drama in the process. The audience went wild at the end, and he favored us with Medtner's Fairy Tales Op.20 No.2 "La Campenella" as an encore, also stunning. I met him afterward--charming and friendly as ever. He said upcoming recordings include all of Rachmaninoff's Concertos (1 and 4, then 2 and 3), the Piano Trios with Gidon Kremer (didn't mention the cellist), then Chopin's Concertos. We have a lot to look forward to!

The second half consisted of Prokofiev's "Scythian Suite" (The second movement was brutal beyond belief!), and concluded with Scriabin's "Poem of Ecstasy." Wow. I don't think I've ever heard a louder orchestral finale--the hall's organ sounded awesome.

I really don't get why some people don't like Dudamel. The loud and intense parts of every score I've heard him conduct are as loud and intense as anyone would want, and the more delicate parts are beautifully phrased and interpreted. Professional jealousy, perhaps?


----------



## TurnaboutVox

Saturday 3rd December 2016
The Bridgewater Hall, Manchester, UK

*
Handel - Messiah*

Hallé Orchestra, Conductor Christian Curnyn

Joanne Lunn, Soprano
Madeleine Shaw, Mezzo-soprano
Stuart Jackson, Tenor
James Platt, Bass
Hallé Choir

Splendid entertainment, even if we did miss the first 20 minutes stuck in a traffic jam. 
People stand up for the "Hallelujah" chorus - who knew?!


----------



## SixFootScowl

Just back from Handel's Messiah.

UMS Choral Union
Ann Arbor Symphony Orchestra
Scott Hanoian, conductor 
Janai Brugger, soprano
Meg Bragle, mezzo-soprano 
Michele Angelini, tenor 
Shenyang, bass-baritone

All the soloists have impressive resumes, several performing in the current MET season productions.
I especially liked the bass and tenor. The mezzo was good but I tend to like a deeper voice for the alto parts. The soprano was good, but there was some warble in her voice, especially apparent in the recitatives. Overall, a great performance, and as usual, Hill Auditorium has exceptional sound quality. The choral parts are very clear and understandable.

Now I am waiting for Beethoven's Ninth and Missa Solemnis next Feburary and March and just bought tickets for Opera in Concert Handel's Ariodante featuring Joyce DiDonato! Still have some $14 seats too. 
The English Concert
Harry Bicket, artistic director/harpsichord
Joyce DiDonato, mezzosoprano (Ariodante)
Christiane Karg, soprano (Ginevra)
Joelle Harvey, soprano (Dalinda)
Sonia Prina, contralto (Polinesso)
David Portillo, tenor (Lucanio)
Matthew Brook, bass (King of Scotland)
Tyson Miller, tenor (Odoardo)


----------



## Vaneyes

Kontrapunctus said:


> I drove 400 miles to hear Daniil Trifonov and the LA Phil with Dudamel perform Rachmaninoff's 3rd Concerto--wow! I have 7 or 8 recordings and have heard it live many times, but never as thrillingly as last night! Not only was the bravura all one could ask for, but Trifonov brought out all sorts of inner voices/counterpoint that I've never heard before. He played the more massive cadenza and made it sound orchestral. It was a bit slower than some play it, but I think it gained intensity and drama in the process. The audience went wild at the end, and he favored us with Medtner's Fairy Tales Op.20 No.2 "La Campenella" as an encore, also stunning. I met him afterward--charming and friendly as ever. He said upcoming recordings include all of Rachmaninoff's Concertos (1 and 4, then 2 and 3),* the Piano Trios with Gidon Kremer (didn't mention the cellist)*, then Chopin's Concertos. We have a lot to look forward to!
> 
> The second half consisted of Prokofiev's "Scythian Suite" (The second movement was brutal beyond belief!), and concluded with Scriabin's "Poem of Ecstasy." Wow. I don't think I've ever heard a louder orchestral finale--the hall's organ sounded awesome.
> 
> I really don't get why some people don't like Dudamel. The loud and intense parts of every score I've heard him conduct are as loud and intense as anyone would want, and the more delicate parts are beautifully phrased and interpreted. Professional jealousy, perhaps?


Likely, Giedrė Dirvanauskaitė. :tiphat:


----------



## senza sordino

This afternoon I attended a fabulous concert: The Takacs Quartet performed three Beethoven Quartets. Op 18 no 5, Op 95 serioso #11, and after the intermission Op 127 #12.

This was a terrific concert and well attended. Their concentration and communication throughout are intense and impressive. Their intonation is flawless throughout. I sat in the front row. Each piece has its own character. The group brought out the entire range and character of each and they clearly enjoyed playing these pieces. Light hearted in the the first quartet, serious in the second and quite weighty in the third. I really enjoyed the concert.

And afterward there was a mix and mingle, and thinking ahead I took my four Takacs Quartet CDs for each member to autograph.

View attachment 90623


I talked to each member, but the newest member of the quartet, the viola player, Geraldine Walther and I got along and we had the longest chat. We chatted about the pieces they played, and the location of their next concert. But she also asked me if I played, and I said yes, so she was asking me a lot of questions. I was supposed to be interviewing her.

Overall, a very nice afternoon.


----------



## KenOC

Senza, I saw the Takacs here in SoCal a year or two ago. They were (of course) fabulous. They're my favorite Beethoven quartet players, bar none. I envy you your concert!


----------



## Judith

Went to another local one yesterday. One I haven't mentioned "Leeds Haydn Players" who are a local chamber orchestra.
They performed
Haydn Overture to "Lisola disabitata"
Mozart Symphony No 27 in G Major
Holst Brook Green Suite
Haydn Symphony No 42 in D Major

What a lovely way to spend a Sunday afternoon!


----------



## Gordontrek

Just attended a local production of The Nutcracker. Local symphony and ballet company. Wonderful playing and dancing, but it is the LAST time I attend a family-oriented production. There was at least 40 decibel murmur among the crowd the whole time and on some numbers I couldn't even hear the orchestra. And countless wailing infants and unruly toddlers. I learned something new- Tchaikovsky wrote a libretto that goes "SIT DEOWN RAHT NEOW." (the local Southern inflection if you're wondering.)
So.....am I glad I went? I guess so, since the Nutcracker is one of my favorite pieces of music. I hope in the future they offer a regular concert version with the usual age limit.


----------



## Guest

I attended pianist Konstantin Lifschitz's marathon Bach concert last night in Palo Alto, CA, in which he played all 6 of Bach's Partitas! He played three groups of two, with an intermission in between--all from memory. Now, for those of you who play piano and have ever tried to memorize a major Bach piece, (or even a minor one, for that matter!), this was quite a feat. But, he didn't merely remember the notes, he played them with a nearly symphonic array of colors and dynamics. It was stunning in every conceivable way.


----------



## Valjuan

A couple weeks ago I had the pleasure of seeing Daniil Trifonov perform his own Piano Concerto with the Kansas City Symphony. The piece exhibits a fair amount of ingenuity and plays to his strengths. Definitely influenced by Rachmaninoff. I've been a huge fan of Trifonov ever since his first Carnegie recital CD came out that was nominated for a Grammy. His sound...I could listen to it all day!


----------



## Guest

Valjuan said:


> A couple weeks ago I had the pleasure of seeing Daniil Trifonov perform his own Piano Concerto with the Kansas City Symphony. The piece exhibits a fair amount of ingenuity and plays to his strengths. Definitely influenced by Rachmaninoff. I've been a huge fan of Trifonov ever since his first Carnegie recital CD came out that was nominated for a Grammy. His sound...I could listen to it all day!


Did you see his Carnegie Hall recital on 12/7? If not, here's a link: http://www.medici.tv/#!/daniil-trifonov-schumann-shostakovich-stravinsky


----------



## Pugg

Kontrapunctus said:


> Did you see his Carnegie Hall recital on 12/7? If not, here's a link: http://www.medici.tv/#!/daniil-trifonov-schumann-shostakovich-stravinsky


The comment left behind from " Lynn" is so lovely, right from the heart.


----------



## jegreenwood

Kontrapunctus said:


> Did you see his Carnegie Hall recital on 12/7? If not, here's a link: http://www.medici.tv/#!/daniil-trifonov-schumann-shostakovich-stravinsky


Article in the New York Times about him.

http://www.nytimes.com/2016/12/09/a...-region&region=bottom-well&WT.nav=bottom-well


----------



## Guest

jegreenwood said:


> Article in the New York Times about him.
> 
> http://www.nytimes.com/2016/12/09/a...ell-region®ion=bottom-well&WT.nav=bottom-well


An interesting mix of a review and a behind the scenes glimpse of an artist!


----------



## Radames

Last Sunday I got to hear the Gliere Harp Concerto in Montreal. Now there's not much until the new year.


----------



## Judith

This afternoon went to a concert performed by a local orchestra Airedale Symphony Orchestra 

Fanfare for Brass from La Peri Dukas
Suite for Winds in B Flat R Strauss
Serenade for Strings Dvorak 
Symphony No 5 Beethoven 

The first half, as you can see they performed music from different sections of the orchestra and in the second half, the orchestra came together for the Beethoven.


----------



## padraic

Barenboim is doing the whole Bruckner cycle at Carnegie Hall with Staatskapelle Berlin right now. I'm attending the performance of the Eighth on Saturday night.


----------



## starthrower

World Premiere: Triple Concerto by Sofia Gubaidulina in Boston

http://www.sikorski.de/11647/en/world_premiere_triple_concerto_by_sofia_gubaidulina_in_boston.html


----------



## Judith

Last night went to see local orchestra:-

Sinfinia of Leeds 

Performing

Overture Rusian and Ludmila Glinka
In the Steppes of Central Asia Borodin
Lieutenant Kije Suite Prokofiev 
Symphony no 6 Beethoven

All the pieces were well performed!


----------



## Guest

I heard the Prague Philharmonic conducted by Emmanuel Villaume last night with cellist Gautier--they were thrilling!

Smetana: "Vltava" from Ma Vlast
Dvorak: Cello Concerto
Dvorak: Symphony No.8


----------



## Pugg

Kontrapunctus said:


> I heard the Prague Philharmonic conducted by Emmanuel Villaume last night with cellist Gautier--they were thrilling!
> 
> Smetana: "Vltava" from Ma Vlast
> Dvorak: Cello Concerto
> Dvorak: Symphony No.8


The brothers Gautier are such fine artist, the double concert ( Brahms) is almost a classic.


----------



## Guest

Pugg said:


> The brothers Gautier are such fine artist, the double concert ( Brahms) is almost a classic.


Yes, both are great. I need to hear that Brahms. I have Gautier's disc that I posted and this one:










I also want to hear this one:


----------



## Guest

I attended an extraordinary recital by Joshua Bell and Sam Haywood last night. 

Beethoven: Sonata No. 1 for Violin and Piano in D Major, op. 12, No. 1
Brahms: Scherzo for Violin and Piano in C Minor
Brahms: Sonata No. 3 for Violin and Piano in D Minor, op. 108

Intermission

Kernis: Air for Violin and Piano, op. 34, No. 14
Ysaÿe: Sonata No.3 ("Ballade") for Unaccompanied Violin in D Minor, op. 27, No. 3
Rachmaninoff: Vocalise for Violin and Piano, op. 34, No. 14
Sarasate: Fantasy after Bizet's Carmen for Violin and Piano, op. 25

(no encores...and none were needed!)

They both played with stunning precision and emotion. The Kernis piece was commissioned by Bell--a gorgeous, largely introspective piece, which also demonstrated that new music needn't be without melody!


----------



## Judith

Kontrapunctus said:


> I attended an extraordinary recital by Joshua Bell and Sam Haywood last night.
> 
> Beethoven: Sonata No. 1 for Violin and Piano in D Major, op. 12, No. 1
> Brahms: Scherzo for Violin and Piano in C Minor
> Brahms: Sonata No. 3 for Violin and Piano in D Minor, op. 108
> 
> Intermission
> 
> Kernis: Air for Violin and Piano, op. 34, No. 14
> Ysaÿe: Sonata No.3 ("Ballade") for Unaccompanied Violin in D Minor, op. 27, No. 3
> Rachmaninoff: Vocalise for Violin and Piano, op. 34, No. 14
> Sarasate: Fantasy after Bizet's Carmen for Violin and Piano, op. 25
> 
> (no encores...and none were needed!)
> 
> They both played with stunning precision and emotion. The Kernis piece was commissioned by Bell--a gorgeous, largely introspective piece, which alo demonstrated that new music needn't be without melody!


Would have loved to have gone with you! Jealous lol! Love Joshua Bell!


----------



## Vaneyes

starthrower said:


> World Premiere: Triple Concerto by Sofia Gubaidulina in Boston
> 
> http://www.sikorski.de/11647/en/world_premiere_triple_concerto_by_sofia_gubaidulina_in_boston.html


Maybe these same forces will produce a recording for DG.


----------



## Lunasong

This weekend's program:
J. S. Bach, arr. Arnold Schoenberg _St. Anne Prelude and Fugue_
J. S. Bach Motet No. 1 "Singet dem Herrn ein neues Lied"
Gustav Mahler Symphony No. 5

I really liked the thought put into this program. The instrumentation of the Prelude and Fugue married well with the requirements for the Symphony. The Motet is well noted as a resource and inspiration to Mahler when writing the Symphony.

All during rehearsals there's been an artist named Ausra Jankauskaite on site painting. Last night (and tonight) she painted a 4x4′ canvas in front of the audience during the concert. It was a fascinating process watching her layer the colors and watching the shape of the art becoming apparent while listening to the music and watching the orchestra (we get cheap seats so we look down and see what is going on in the horn section).

The horn solo in mvt. 3 was staged like none other I'd seen (I checked YT as well) Our principal horn player stood front and center to play it. It worked amazingly well and he played it like a boss. Afterwards R. went down to the stage door to fanboy and he wasn't the only one...


----------



## Ralphus

I just returned from a Seoul Philharmonic concert with Jukka-Pekka Saraste and Brett Dean.

Sibelius: En Saga - probably my favourite Sibelius tone poem; first time seeing it performed live! it was a good strong performance with excellent work from the strings and woodwinds especially.

Dean: Viola Concerto - this was a revelation for me; it was a wonderful, interesting piece and the audience clearly loved it! Dean's viola playing was exquisite.

Beethoven: Symphony #4 - a truly brilliant performance: vivacious, beautifully balanced, as great a demonstration of the work's brilliance as likely to hear live. The only other time I've seen it was a snooze-fest with the NYPO/Kurt Masur in the 90s (It was a lunchtime concert; I remember sitting among businessmen spreadeagled across a couple seats reading newspapers all through the performance).

Chung Myung-whun is clearly doing wonders with this orchestra (despite the controversies surrounding him). I was blown away by how wonderful the strings sounded. The woodwinds were also especially good. I fancy this orchestra will be attracting more and more top flight conductors and recording opportunities in the years to come. Their DG releases have been mixed, but show clear potential. From what I heard tonight, it has arrived!


----------



## SixFootScowl

Last night:

Beethoven Symphony No. 1 in C Major, Op. 21
Beethoven Piano Concerto No. 4 in G Major, Op. 58
Beethoven Symphony No. 9 in d minor, Op. 125

Budapest Festival Orchestra: Iván Fischer, conductor
Richard Goode, piano
UMS Choral Union
Laura Aikin, soprano
Kelley O'Connor, mezzo-soprano
Robert Dean Smith, tenor
Matthew Rose, bass

Hill Auditorium, University of Michigan, Ann Arbor, Michigan

The highlight of course was the Ninth and it was wonderful. Every movement seemed to pass to quickly because it was so good. The audience was pretty well behaved, but felt it was free time for coughing between movement. Between every movement there was a loud din of coughing in the place. But it does ruin things because the pauses between movement are supposed to be just that, pauses, not noisy interludes. What I don't get is how these people could avoid coughing through 20 minutes of a movement and then just had to cough.

A fun part was watching the piano go below stage on a section of floor that slowly descended then came back up without the piano.

One cellist almost didn't make it because of the travel ban.


----------



## hpowders

Florestan said:


> Last night:
> 
> Beethoven Symphony No. 1 in C Major, Op. 21
> Beethoven Piano Concerto No. 4 in G Major, Op. 58
> Beethoven Symphony No. 9 in d minor, Op. 125
> 
> Budapest Festival Orchestra: Iván Fischer, conductor
> Richard Goode, piano
> UMS Choral Union
> Laura Aikin, soprano
> Kelley O'Connor, mezzo-soprano
> Robert Dean Smith, tenor
> Matthew Rose, bass
> 
> Hill Auditorium, University of Michigan, Ann Arbor, Michigan
> 
> The highlight of course was the Ninth and it was wonderful. Every movement seemed to pass to quickly because it was so good. The audience was pretty well behaved, but felt it was free time for coughing between movement. Between every movement there was a loud din of coughing in the place. But it does ruin things because the pauses between movement are supposed to be just that, pauses, not noisy interludes. What I don't get is how these people could avoid coughing through 20 minutes of a movement and then just had to cough.
> 
> A fun part was watching the piano go below stage on a section of floor that slowly descended then came back up without the piano.
> 
> One cellist almost didn't make it because of the travel ban.


You are very lucky to live close to a major university that can attract excellent musicians and put on some wonderful concerts.


----------



## Pugg

Florestan said:


> Last night:
> 
> Beethoven Symphony No. 1 in C Major, Op. 21
> Beethoven Piano Concerto No. 4 in G Major, Op. 58
> Beethoven Symphony No. 9 in d minor, Op. 125
> 
> Budapest Festival Orchestra: Iván Fischer, conductor
> Richard Goode, piano
> UMS Choral Union
> Laura Aikin, soprano
> Kelley O'Connor, mezzo-soprano
> Robert Dean Smith, tenor
> Matthew Rose, bass
> 
> Hill Auditorium, University of Michigan, Ann Arbor, Michigan
> 
> The highlight of course was the Ninth and it was wonderful. Every movement seemed to pass to quickly because it was so good. The audience was pretty well behaved, but felt it was free time for coughing between movement. Between every movement there was a loud din of coughing in the place. But it does ruin things because the pauses between movement are supposed to be just that, pauses, not noisy interludes. What I don't get is how these people could avoid coughing through 20 minutes of a movement and then just had to cough.
> 
> A fun part was watching the piano go below stage on a section of floor that slowly descended then came back up without the piano.
> 
> One cellist almost didn't make it because of the travel ban.


This must have been a fantastic evening Florestan.


----------



## Vaneyes

Florestan said:


> Last night:
> 
> Beethoven Symphony No. 1 in C Major, Op. 21
> Beethoven Piano Concerto No. 4 in G Major, Op. 58
> Beethoven Symphony No. 9 in d minor, Op. 125
> 
> Budapest Festival Orchestra: Iván Fischer, conductor
> Richard Goode, piano
> UMS Choral Union
> Laura Aikin, soprano
> Kelley O'Connor, mezzo-soprano
> Robert Dean Smith, tenor
> Matthew Rose, bass
> 
> Hill Auditorium, University of Michigan, Ann Arbor, Michigan
> 
> The highlight of course was the Ninth and it was wonderful. Every movement seemed to pass to quickly because it was so good. The audience was pretty well behaved, but felt it was free time for coughing between movement. Between every movement there was a loud din of coughing in the place. But it does ruin things because the pauses between movement are supposed to be just that, pauses, not noisy interludes. What I don't get is how these people could avoid coughing through 20 minutes of a movement and then just had to cough.
> 
> A fun part was watching the piano go below stage on a section of floor that slowly descended then came back up without the piano.
> 
> One cellist almost didn't make it because of the travel ban.


Highlight on paper for me is LvB PC4 w. Goode. How'd that go?

Re travel ban, article on Fischer et al on *Conductor News* thread.:tiphat:


----------



## SixFootScowl

hpowders said:


> You are very lucky to live close to a major university that can attract excellent musicians and put on some wonderful concerts.


Yes. And they have some extremely generous donors. I will be attending this major production there in April: Handel Ariodante concert performance with Joyce Didonato in April conducted by Harry Bicket and The English Concert in only three places in the country: Hill Auditorium, Carnegie Hall, and the Kennedy Center.

Next month I will attend Beethoven Missa Solemnis with the Ann Arbor Symphony, also at Hill Auditorium.


----------



## Guest

Words fail when trying to describe Lukas Debargue's recital in Berkeley yesterday. He combines mind-blowing technique with the sense that he a co-creator of the music. This is easily one of the most amazing recitals I have yet heard.

Program:

Scarlatti: Sonata K. 132
Chopin: Ballade No.4
Ravel: Gaspard de la Nuit

Intermission

Medtner: Sonata in F Op.5

Encores
Scarlatti K.208 and K.24

Curtain call after the Medtner:









Chatting with him backstage:









His "autograph"!


----------



## Judith

Went to see local orchestra
Harrogate Philharmonic Orchestra

Hebrides Mendelssohn
Kamarinskaya Glinka
Dances of Galanta Kodaly
Scottish Symphony Mendelssohn

The church where it was performed isn't too far as we just live near the Harrogate Road so it's easy to get there!


----------



## SixFootScowl

Vaneyes said:


> Highlight on paper for me is LvB PC4 w. Goode. How'd that go?


It was quite wonderful, but my lack of familiarity with the piano concertos did detract from it some. It sounded totally unfamiliar to me and I had a hard time following it. Goode's piano playing was excellent though.


----------



## Gordontrek

A piano trio consisting of a violinist and cellist from the Mississippi Symphony, a pianist from my university, and a clarinetist from the MSO who played a solo and joined the trio on the second half of the program. The program consisted of:

Mendelssohn- Piano Trio no. 1
Miklos Rosza- Sonatina for Solo Clarinet
Carter Pann- Summer Songs (2009)

One of the best concerts I've yet been to. I was very impressed by the Summer Songs. It was a delightful piece.


----------



## Judith

Saw Vienna Tonkunstler Orchestra conducted by Yutaka Sado and soloist was Angela Hewitt.

Marriage of Figaro Mozart
Piano Concerto No 4 Beethoven
Symphony No 2 in D Major Sibelius

Encores were 

Gigue from the French Suite No 5 JS Bach
String Quartet Tchaikovsky

Took place at Leeds Town Hall


----------



## Pugg

Judith said:


> Saw Vienna Tonkunstler Orchestra conducted by Yutaka Sado and soloist was Angela Hewitt.
> 
> Marriage of Figaro Mozart
> Piano Concerto No 4 Beethoven
> Symphony No 2 in D Major Sibelius
> 
> Encores were
> 
> Gigue from the French Suite No 5 JS Bach
> String Quartet Tchaikovsky
> 
> Took place at Leeds Town Hall


Two encores......lucky you.


----------



## TurnaboutVox

Royal Northern College of Music, Manchester
27th February 2017
*
Arcadia Quartet (Romania)

Haydn Op. 33/5 in G
Bartok No. 3, Sz. 85
Beethoven Op. 59/2 in E minor*

Encore - a finale from a Haydn Op. 20 quartet, I think.

Lovely intonation and a sweetness of tone seem characteristic of this nicely integrated quartet. I haven't heard Bartok played in quite such a legato fashion (maybe the Zehetmair quartet's #5 on ECM) but it worked well. I thought they were really in their element in the Haydn pieces - the 'How do you do?' quartet and the Op. 20(?) encore piece.


----------



## Judith

Saw Leeds Symphony Orchestra with soloist Craig Ogden last night.

Overture Beatrice & Benedict Berlioz
Swan Lake Tchaikovsky
Concierto del Sur for Guitar Ponce
Pictures at an Exhibition Mussorgsky/Ravel

Guitar not usually my forte but I was really surprised by Craigs performance, so much so that I bought his Rodrigo CD. Met him and got CD autographed.


----------



## Gordontrek

Alabama Symphony Orchestra
Haydn- Symphony 102
Britten- Four Sea Interludes from Peter Grimes
Brahms- Violin Concerto feat. Arnaud Sussman

Fairly simple program but very enjoyable.


----------



## ahinton

Here, extracted from the Sorabji Archive website at www.sorabji-archive.co.uk , are six of what might yet turn out to be more than that number of forthcoming performances of Sorabji's _Opus Clavicembalisticum_, played by English pianist Jonathan Powell:

5 May 2017
Brighton, UK. St Michael's Church
Jonathan Powell (piano)
_Opus Clavicembalisticum_
Starting at 4.30pm

9 May 2017
London, UK. Rosslyn Hill Chapel
Jonathan Powell (piano)
_Opus Clavicembalisticum_

13 May 2017
Oxford, UK. Jacqueline du Pré Music Building
https://jdp.st-hildas.ox.ac.uk/
Jonathan Powell (piano)
_Opus Clavicembalisticum_
Commencing 3.30pm, pre-concert talk 2.30pm

1 October 2017
Karlsruhe, Germany. Musentempel
Jonathan Powell (piano)
_Opus Clavicembalisticum_

6 October 2017
Glasgow, UK. Glasgow University
Jonathan Powell (piano)
_Opus Clavicembalisticum_

25 October 2017
Brno, Czech Republic. JAMU (Janacek Academy) concert hall
Jonathan Powell (piano)
_Opus Clavicembalisticum_

Anyone familiar with the colossal challenges involved in preparing and performing this piece will doubtless be astonished at the prospect of three such within less than two weeks.

Events not to be missed!


----------



## DeepR

After much anticipation I finally got to hear Bruckner 8 live yesterday. It was great.


----------



## Vaneyes

DeepR said:


> After much anticipation I finally got to hear Bruckner 8 live yesterday. It was great.


Good for you, one of four worldwide Bruckner concerts yesterday.:tiphat:

http://www.bekkoame.ne.jp/~hippo/musik/konzertvorschau/bruckner.html


----------



## DeepR

Wow, somebody is a fan. 
Wish there was such a thing for every composer, is there?


----------



## SixFootScowl

Beethoven's Missa Solemnis, tonight at Hill Auditorium on the campus of the University of Michigan. It was wonderful. All the soloists were very good:

Erin Wall (soprano)
Kelly O'Connor (mezzo-soprano)
Matthew Plenk (tenor)
Nathan Stark (bass)


----------



## senza sordino

I've been neglecting this thread - sorry.

Two concerts to tell you about:

A month ago we travelled to Seattle to see Hilary Hahn perform the Bruch Gm. Also the orchestra performed Prokofiev 5. A good concert and good weekend away. Also we went to the Chihuly museum which is terrific. And the Amazon bookstore, yes, a bricks and mortar shop for Amazon. Anyway, at intermission and after the concert Hilary Hahn was signing autographs. I got in line twice. I had her sign my Brahms cd, but afterwards, I bought her Tchaikovsky/ Higdon cd so I could get in line twice. 

She's genuinely nice. She talked to everyone. She asked all the kids in line what pieces they were working on. I told her how I was an adult learner. We had a quick chat. I didn't want to take too long with her as the queue was quite long. 

The other concert I want to tell you about happened two nights ago. I heard members of the orchestra perform Bernstein Prelude Fugue and Riffs, so exciting. Then a piece by a naturalized Canadian Morawetz, Edward MacDowell's second piano concerto performed by Allesio Bax. And the second half was Copland's Third Symphony. Terrific concert. I had never heard the MacDowell piece before, it's pretty good. Very difficult, lots of notes. To perform the Copland the orchestra added many extras, the stage was full.


----------



## TurnaboutVox

Two recitals, same day, same place. We could have gone to several more (my son got cheap student tickets to two other concerts over the weekend) but time and money meant I had to pick just two:

RNCM, Manchester, UK
Chamber Music Festival - The Music of Hungary and Spirit of the Czardas
*
Kvartettek**
Kodaly - String Quartet No. 1, op. 2
Dohnanyi - String Quartet No. 2 in D flat, Op. 15
Carmel Smickersgill - New Work for String Quartet* (premiere)
(played by student string quartets from London, Manchester and Ireland)*
Bartok - String Quartet No. 4*
Solem Quartet

Excellent performances by the students - well up to professional standards. The Kodaly was outstanding, and the Carmel Smickersgill work a delightfully colourful (and contemporary tonal) work. Dohnanyi's Op. 15 quartet is not especially memorable, although the finale is pleasant. The Bartok #4 - well, I'm not sure if this was a professional outfit but they absolutely nailed it. Exhilarating! The first violin's bow was in tatters at the end.

*
Bartok
String Quartet No. 2, No. 3 and No. 5
Keller Quartet* (Hungary)

The main event. This ensemble (their leader Andras Keller especially) sound as if they might have played Bartok once or twice before. They gave masterful but restrained performances. This worked particularly well in the 2nd and 5th quartet. I thought that the 3rd could have done with a bit more violence!


----------



## Judith

Wonderful concert last night at Leeds Town Hall

Leif Ove Andnes
Norwegian Chamber Orchestra 

Haydn Symphony no 95
Mozart Piano Concerto no 20
Mozart Piano Concerto no 22
Grieg Holberg Suite

In the final movement of the Holberg Suite, the orchestra was dancing. Not seen that before!!


----------



## Pugg

Judith said:


> Wonderful concert last night at Leeds Town Hall
> 
> Leif Ove Andnes
> Norwegian Chamber Orchestra
> 
> Haydn Symphony no 95
> Mozart Piano Concerto no 20
> Mozart Piano Concerto no 22
> Grieg Holberg Suite
> 
> In the final movement of the Holberg Suite, the orchestra was dancing. Not seen that before!!


Did he conduct and playing at the same time?


----------



## Judith

Pugg said:


> Did he conduct and playing at the same time?


Yes he did! He was amazing!


----------



## Pugg

Judith said:


> Yes he did! He was amazing!


If you have time, try his Haydn piano concertos.
Fabulous.


----------



## Judith

Pugg said:


> If you have time, try his Haydn piano concertos.
> Fabulous.


Will do thank you. I love his two Cello Concertos!


----------



## Judith

Pugg said:


> If you have time, try his Haydn piano concertos.
> Fabulous.


Just ordered

Haydn Piano Concertos

Leif Ove Andsnes
Norwegian Chamber Orchestra

Has Concerto 3,4 and 11.

Can't wait to hear them!


----------



## Pugg

Judith said:


> Just ordered
> 
> Haydn Piano Concertos
> 
> Leif Ove Andsnes
> Norwegian Chamber Orchestra
> 
> Has Concerto 3,4 and 11.
> 
> Can't wait to hear them!


That's the one, good one you !


----------



## Guest

I heard Yuri Temirkanov conduct the St. Petersburg Phil with Garrick Ohlsson in Brahms' Piano Concerto No.1 and Shostakovich's 5th Symphony. Both were magnificent, and the 5th Symphony was easily the most pulverizing performance I have ever heard. My tickets were in the 3rd row, and as I left my ears were ringing a bit from the overwhelming volume!


----------



## Vaneyes

senza sordino said:


> I've been neglecting this thread - sorry.
> 
> Two concerts to tell you about:
> 
> A month ago we travelled to Seattle to see Hilary Hahn perform the Bruch Gm. Also the orchestra performed Prokofiev 5. A good concert and good weekend away. Also we went to *the Chihuly museum which is terrific*. And the Amazon bookstore, yes, a bricks and mortar shop for Amazon. Anyway, at intermission and after the concert Hilary Hahn was signing autographs. I got in line twice. I had her sign my Brahms cd, but afterwards, I bought her Tchaikovsky/ Higdon cd so I could get in line twice.
> 
> She's genuinely nice. She talked to everyone. She asked all the kids in line what pieces they were working on. I told her how I was an adult learner. We had a quick chat. I didn't want to take too long with her as the queue was quite long.
> 
> The other concert I want to tell you about happened two nights ago. I heard members of the orchestra perform Bernstein Prelude Fugue and Riffs, so exciting. Then a piece by a naturalized Canadian Morawetz, Edward MacDowell's second piano concerto performed by Allesio Bax. And the second half was Copland's Third Symphony. Terrific concert. I had never heard the MacDowell piece before, it's pretty good. Very difficult, lots of notes. To perform the Copland the orchestra added many extras, the stage was full.


Yes indeed.

Less terrific is the Murano Island (Venice) visit, which includes the hardest shop selling you'll ever experience. Avoid, unless you can get a free private Venetian teak boat ride. One way only, must return on the public vaporetto.


----------



## Pat Fairlea

Last night, Mrs Pat & I spent a delightful 3 hours listening to a local semi-pro wind ensemble, the Phoenix Concert Band http://www.phoenixband.co.uk/.
They're not the Berlin Phil and the programme was mainly popular show tunes mixed with some contemporary compositions. But it was really good to see a bunch of friends clearing enjoying the challenge and each other's company making music, with proceeds going to a child cancer charity. Tea and cakes were served at the interval, with the band mucking in with the audience. 
Great concerts are memorable and wonderful things (Ida Haendel, Alexis Weissenberg...), but don't neglect the small events that remind us what collective music-making is all about.


----------



## SiegendesLicht

I have just come from a performance of Beethoven: Symphony No. 3 and the oratorio "Christus am Ölberge" at the church in Blankenese, Hamburg - performed by a local orchestra and choir.

Maybe at a bigger concert hall - like the Elphi - this orchestra and the soloists would not sound as convincing. But this was a small venue, a little over 200 seats, and the sound rather reminded me of a rock concert. And Beethoven, after all, is the first rocker  It was fantastic, and my hands still hurt somewhat from all the applause.

Next one coming: the Alpensinfonie!


----------



## Gordontrek

This has been a weekend FULL of great concerts for me. On Friday night, the U.S. Army Field Band came to town. They are truly a world class ensemble. Aside from the usual patriotic stuff, they performed wind ensemble transcriptions of Stravinsky's Firebird and Mendelssohn's Sonata no. 2 for clarinet and basset horn (with two soloists from the band) that were quite nice. There was so much incredible virtuosity in that concert, it really increased my respect for the U.S. military bands. Top notch musicians. 

Last night I saw Academy of St. Martin in the Fields. They are touring America right now and fortunately my hometown was one of their stops. It was a fabulous concert.
The program was:
Aaron Copland- Quiet City
Mozart- Piano Concerto No. 9
Mozart- Symphony No. 29
Shostakovich- Piano Concerto No. 1
The pianist was Inon Barnatan. 

And in about an hour, my local symphony is doing a rather intriguing program where they will bring in a painter and have her "paint what she hears." It's an all-Copland program with Quiet City (I get to hear it twice in 24 hours!), Nonet for Strings, and Appalachian Spring. Curious to see what the artist comes up with.


----------



## Judith

Gordontrek said:


> This has been a weekend FULL of great concerts for me. On Friday night, the U.S. Army Field Band came to town. They are truly a world class ensemble. Aside from the usual patriotic stuff, they performed wind ensemble transcriptions of Stravinsky's Firebird and Mendelssohn's Sonata no. 2 for clarinet and basset horn (with two soloists from the band) that were quite nice. There was so much incredible virtuosity in that concert, it really increased my respect for the U.S. military bands. Top notch musicians.
> 
> Last night I saw Academy of St. Martin in the Fields. They are touring America right now and fortunately my hometown was one of their stops. It was a fabulous concert.
> The program was:
> Aaron Copland- Quiet City
> Mozart- Piano Concerto No. 9
> Mozart- Symphony No. 29
> Shostakovich- Piano Concerto No. 1
> The pianist was Inon Barnatan.
> 
> And in about an hour, my local symphony is doing a rather intriguing program where they will bring in a painter and have her "paint what she hears." It's an all-Copland program with Quiet City (I get to hear it twice in 24 hours!), Nonet for Strings, and Appalachian Spring. Curious to see what the artist comes up with.


Would love to see ASMF live. My favourite orchestra. I can imagine they were amazing!


----------



## Gordontrek

Judith said:


> Would love to see ASMF live. My favourite orchestra. I can imagine they were amazing!


Oh trust me, it was a concert I'll not soon forget. The way they articulated and moved together was astounding. Even the occasional rubato was executed perfectly ensemble-wide. It was as if they were machines connected with wires.


----------



## Gordontrek

Huntsville Symphony last night:
Ligeti- Concert Romanesc 
Bartok- Piano concerto #3 feat. David Kadouch
Beethoven- Symphony 6

Before they played the first piece the conductor turned to the audience and said "Unfortunately we were unable to get the latest edition of Beethoven 6, so the second half of the program will be replaced by Five Pieces for Orchestra by Arnold Schoenberg." It seems most everyone knew it was April 1st. :lol: It was good for a laugh.


----------



## Judith

Went to see Local Orchestra Airedale Symphony

Performed

Fidelio Beethoven
Double Concerto Brahms
Symphony no 3 Bruckner

Sophie Cameron Violin
George Holt Cello


They were good but during the concerto, couldn't help thinking they weren't Joshua, Steven and ASMF!


----------



## Pat Fairlea

Judith said:


> Went to see Local Orchestra Airedale Symphony
> 
> Performed
> 
> Fidelio Beethoven
> Double Concerto Brahms
> Symphony no 3 Bruckner
> 
> Sophie Cameron Violin
> George Holt Cello
> 
> They were good but during the concerto, couldn't help thinking they weren't Joshua, Steven and ASMF!


No, they're not one of the world's top orchestras but they're not bad at all. Sometimes their ambition stretches their collective technique to its limits, but all credit to them for having that ambition in the first place! As I said previously, it's good to see these local ensembles getting together and making music.


----------



## SiegendesLicht

*The Alpine Symphony, or To Valhalla and Back Again*

Yesterday I visited a Richard Strauss concert, performed by the Hamburg Symphonic Orchestra, conducted by Jeffrey Tate.

The first dish on the menu was the final aria of Salome. I did get acquainted with the whole story beforehand, and it was, well, disturbing. Kissing a head severed from the body...

_Ah! Ich habe ihn geküsst, deinen Mund, 
es war ein bitterer Geschmack auf deinen Lippen. 
Hat es nach Blut geschmeckt?_

Ah, I have kissed it, your mouth,
there was a bitter taste on you lips.
Was it the taste of blood?

But the music covers for everything, and the music was glorious. I will have to listen to this opera, one of these days.

And then came that, what I have been waiting for many years long. "Grand, mad, German and drunk with power, will and love of nature..." (thanks, Xaltotun!)

... Out of the grey of the dawn the first sunlight falls upon the highest peaks of the Bavarian Alps, and high above the world the mountains shine in a warm golden glow. The sky above is a deep, piercing blue. The way leads upward, first gently, sometimes into a patch of shadowy forest, sometimes along the meadows of green juicy grass, across clear mountain streams and small waterfalls.

Gradually the way becomes ever steeper and the going up gets ever harder. Sweat covers the forehead, and even more of it runs down the backpack-loaded back. I concentrate on putting one foot in front of the other, and only during short pauses - to take a breath and drink some water - do I have eyes for the majestic glory of the Alps. It is the magic of the mountains - the higher you rise and the more sweat off your back you spend, the more glorious is the view that you are rewarded with and the greater is the sense of victory.

Some time along the way I get lost in a thicket of thorny shrubs and cursing, I return on the right way. But now I am too high - nothing grows here any more. Only rocks and pebbles, treacherous under my foot. And now I come to a glacier - the only remnant of the wintry ice on this mountain. It is cold and slippery. But I can aready see the peak up ahead, and the golden cross, crowning it. Just a hundred meters and a few secured ropes higher.... And now I am momentarily back in the Laieszhalle, Hamburg, on the North German plain, in row 6, watching the Hamburg Symphonic Orchestra just about ready to produce a tremendous sound.

A blast - and I am standing on top of the Zugspitze, my homeland's highest mountain, right next to the golden cross, 3 km over the ground, and endless expance on one hand, a forest of mountain peaks on the other.

A blast - and this is not the Zugspitze any more, but the Everest, and I am breathing the rarefied air on the very top of the world.

A blast - and I am looking down from Valhalla, the hall of the Gods, a thousand brothers at my side, all ready to storm across the rainbow bridge down to earth. My heart is on fire with a fierce love and a holy rage, wishing nothing more than to lay down my life for all the good things in this world that are worth fighting for.

And then there was the way down, amid the storm and pouring rain - but all the rain would not suffice to quench the fire in the heart of one who has just looked down from the highest mountains.

And then I was back in a small Bavarian village, walking through the streets at night and it seemed as if the air was full of music, and the pipe organ sounded - a voice of my homeland calling to me once again - clearer and more beautiful than ever.

And when I left the concert hall, I almost went to the railway station and took a train to Bavaria, instead of going home


----------



## SARDiver

We recently went to see the Academy of St. Martin in the Fields chamber music ensemble performing "Quiet City" by Copland, piano concertos by Mozart and Shostakovitch, and Mozart's 29th Symphony, with Inon Barnatan on piano.

It was, quite simply, phenomenal. Not a huge fan of Shostakovitch, but my wife really enjoyed the work, and I have to say that it was performed nearly flawlessly, and with more energy than I've ever seen a piano played. Barnatan is quite the showman. I had never heard "Quiet City" before, but am a big fan of Copland. 

(Dinner at Ruth's Chris Steakhouse topped off an excellent night.)


----------



## Guest

I heard the Brasil Guitar Duo yesterday--just amazing. Both are fantastic technicians in addition to being supremely musical.


----------



## Haydn man

Sunday 2nd April
Royal Liverpool Philharmonic 
Petrenko
Mendelssohn Violin Concerto
Mahler Symphony No.5

The soloist in the VC was Tamsin Waley Cohen and she played with grace and energy
The Mahler was just superb, Petrenko conducts with energy and control and the RLPO respond with precision. 
I think Petrenko is doing for the RLPO what Rattle did with the CBSO in the eighties. This man is a rising star


----------



## SiegendesLicht

Just re-read my last concert report, Valhalla and all... Oh gosh, it must be all that German red wine....


----------



## Vaneyes

Review for Znaider & Anderszewski at Wigmore.

https://www.theguardian.com/music/2...piotr-anderszewski-review-wigmore-hall-london


----------



## Guest

Yesterday, I heard the Takacs Quartet play Beethoven No. 7 in F Major ("Razumovsky" Op.59. No.1) No. 13 in B-flat Major Op.130 with Op. 133, Grosse Fuge. Flawless and transcendental.


----------



## SiegendesLicht

Last Sunday: J.S. Bach - St. Matthew's Passion, at the church of St. Michaelis, perfromed by members of the Hamburg Philarmonic and the NDR Elbphilharmonie Orchestras and assorted soloists. 

Very nice, although I did think the performance lacked some of the energy, the edge, found on the best recordings of the work. But it was still quite impressive, especially the choral parts.


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## Haydn man

Friday 7th April
ASMF Beethoven Symphony No.1 and PC No.5 Emperor soloist Murray Perahia

Perahia directed from the keyboard in a performance of my wife's favourite work
She was not disappointed


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## Guest

Pianist Saleem Ashkar last night in Berkeley--he was fantastic! Tremendous technique and such a warm, musical player. His program was all-Beethoven: Sonatas number 7, 23, 26, and 31. No encores, and none were needed!


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## Judith

Haydn man said:


> Sunday 2nd April
> Royal Liverpool Philharmonic
> Petrenko
> Mendelssohn Violin Concerto
> Mahler Symphony No.5
> 
> The soloist in the VC was Tamsin Waley Cohen and she played with grace and energy
> The Mahler was just superb, Petrenko conducts with energy and control and the RLPO respond with precision.
> I think Petrenko is doing for the RLPO what Rattle did with the CBSO in the eighties. This man is a rising star


Saw the RLPO last year with Vasily! Wonderful! Apart from ASMF they are one of my favourite orchestras!


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## Gordontrek

Huntsville Symphony tonight:
Ravel- Alborada del gracioso
Szymanowski- Violin Concerto no. 1 featuring Philippe Quint
Stravinsky- Rite of Spring

First time I've ever heard Rite of Spring live. It was an unbelievable experience. I actually was a bit worried about the difficulty of the piece being too much for this group but they more than exceeded my expectations. Wonderful performance all the way around. 
Oh- and Philippe Quint was incredible. Even though I didn't care for the piece all that much.


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## SiegendesLicht

Last night: Gustav Mahler, the 8th Symphony, performed by the Philarmoniker Hamburg and Choir of the State Opera Hamburg (and two other choirs for additional forces), conducted by an Israeli named Eliahu Inbal (instead of Kent Nagano who happened to be sick) - at the Elbphilharmonie Hamburg.

Detailed report here: http://www.talkclassical.com/47086-elbphilharmonie-costs-6-000-a-2.html#post1231118


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## Judith

Went to see Stephen Hough in recital last night in Harrogate! Wonderful performance. Loved it!

He played

Debussy: Images Book II
Schumann: Fantasie op. 17
Debussy: La terrasse des audiences du clair de lune (Preludes Bk II)
Debussy: Images Book I
Beethoven: Sonata in F minor op. 57 (Appassionata)

Encored with a piece from Schumann but couldn't remember what it was!

Met him afterwards and he autographed a CD for me.
He was really nice and friendly!


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## Art Rock

A one hour concerto celebrating the restoration of the 1754 Hinsz organ in the local catholic church. Organist Brandemann played a programme which included the usual names (Bach, Boehm, Buxtehude, Reger), but also an intriguing bluesy piece by Michel (born 1962) and an effective spectacular closing composition by Karg Elert. It was fun.


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## Vaneyes

Barbican, May 23, 2017. LSO/Haitink *Mahler* 9 review. At 88, Bernard's still doing fine. :tiphat:

http://www.classicalsource.com/db_control/db_concert_review.php?id=14553


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## SiegendesLicht

"Singing through the silences" - that is a great way to describe the ending of Mahler's 9th. I really wish I could write my concert reports in an eloquent and brilliant way like that.


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## Bettina

SiegendesLicht said:


> "Singing through the silences" - that is a great way to describe the ending of Mahler's 9th. I really wish I could write my concert reports in an eloquent and brilliant way like that.


Your concert reports are beautiful. Your passion for music shines through in everything you write!


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## SiegendesLicht

I am glad someone actually likes my reports. Here is another one.

Saturday, May 27th - Richard Wagner, Das Rheingold, a concert performance at the Elbphilharmonie Hamburg.

The principal conductor of the NDR Elbphilharmonie Orchestra Thomas Hengelbrock was, due to an illness, this time replaced by a supposedly more Wagner-experienced one, Marek Janowski.

By the time I arrived to the ticket office three hours before the sale of the remaining few tickets for that evening, I was already fourth in the line of the Wagner-thirsty. By the time the sale began, the room was positively overcrowded. Somebody passed a list around to make sure the order of the line was followed. I have no idea how many tickets in total were still available, but I got lucky. Yeay! Upwards, ticket in hand, through the floors and stairs of the Elphi to that fascinating realm of music!

Richard Wagner initially wanted his Festspielhaus to be built on the shores of the Rhine and have his opera that begins in its primeval waterworld to be performed there for the first time. Now it has come to a concert hall that is built right in the middle of the Elbe and offers a majestic view of the river, shining golden in the sun. I still had that mental image with me as I was seated in the Great Hall and the first notes of Wagner's music sounded.

The prelude to Das Rheingold is one of the most fascinating Wagnerian moments for me. It is a promise of wonderful things to come, a call to adventure, beginning of a journey to a different, magical world. I feel like a little kid unwrapping his Christmas presents whenever I hear it. This time I actually shed a tear - one of deep, perfect happiness.









All that came after the prelude was no less magical: the Rhinemaidens' play in the water, the shine of the gold in the first ray of dawn, Alberich's sinister curse, the leitmotif of Walhalla (that warm brass that makes you feel the warmth of the sun on your shoulders), the giants, Loge's monologue, the gods' descent into Nibelheim, Alberich's transformations and Erda's warning. The final solemn march of the gods to Walhalla could have been a tad slower and more majestic for my taste, but apart from that, Marek Janowski and the NDR Elbphilharmonie orchestra delivered a most wonderful performance.

As for the singers, the two who made a particularly great impression on me were Nadine Weissmann as Erda (she sang from a balcony somewhere high above in the audience, and her voice carried across with incredible power and confidence) and Michael Volle as Wotan who even looked the part of a mighty but tormented deity. There was something about him that made me think of Jack Nicholson in The Shining.

All in all, it was a wonderful evening, another one of my musical dreams that has become reality. And the next morning, as I rode the subway past the Elbphilharmonie, I turned around and said in my thoughts: "Thanks, Elphi. You were fantastic last night!"


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## Pugg

I


> am glad someone actually likes my reports. Here is another one.


Nothing wrong with them, always nice reads, your enthusiasm alone is catting.


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## SiegendesLicht

Pugg said:


> I
> 
> Nothing wrong with them, always nice reads, your enthusiasm alone is *catting*.


Like this?


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## Pugg

SiegendesLicht said:


> Like this?
> 
> View attachment 94776


Love you too. :kiss:


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## Oldhoosierdude

I will be attending this one. 

THE ISO PERFORMS SCHUMANN & BRAHMS.


SCHUMANN
Piano Concerto
BRAHMS
Symphony No. 2
KRZYSZTOF URBAŃSKI CONDUCTOR
INON BARNATAN PIANO


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## Guest

I attended 4 days of the Van Cliburn Piano Competition semi-final rounds. All played at a very high level, naturally, but Yury Favorin and Georgy Tchaidze were the standouts for me.


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## Judith

Went to see local orchestra

Leeds Symphony Orchestra
Soloist William Green
Conductor Martin Binks

Performed

Mozart Overture: Cosi fan tutte
Wagner Dawn and Siegfried's Rhine Journey
Ravel Piano Concerto in G
Mahler Symphony No 1 in D


I was listening to the last two a few times to familiarise myself before I went to this concert.


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## Guest

*Finalists of the Fifteenth Van Cliburn International Piano Competition*

Kenneth Broberg, United States, 23
Rachel Cheung, Hong Kong, 25
Yury Favorin, Russia, 30
Daniel Hsu, United States, 19
Yekwon Sunwoo, South Korea, 28
Georgy Tchaidze, Russia, 29










I'm shocked that Han Chan did not advance to the final round, Oh well. I'm so glad that Yury Favorin made it. Here are replays of everyone's performances so far. Just click on the date to view them:

http://cliburn2017.medici.tv/en/replays/


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## SiegendesLicht

*A different kind of magic*

June 10th, Elbphilharmonie Hamburg, the NDR Choir under Florian Helgath.

This time it was something very different than my normal musical diet - a program composed of purely a-capella choral lieder. Actually the only reason I purchased a ticket for it was that I wanted to get inside the Elphi, and back in February this was the only concert for which tickets were still available. But after it was over, I found myself thinking "It was far too short, I could listen to these voices for a couple hours more!" The Romantic melodies and texts - there were lieder by Brahms, Alma Mahler, adopted for choir, Webern, and Schoenberg who did not sound like Schoenberg at all! The beautiful flowing voices that highlighted the whole beauty of the sung German language. Another evening al the Elbphilharmonie that was nothing short of wonderful!


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## Judith

Saw Endellion String Quartet last night. Ashamed to say, first time have seen a Sting Quartet live and was very impressed. They were amazing. Seemed very informal which was nice.

Performed 

Haydn Quartet in G Major Opus 54
Bartók Quartet No 5
Mendelssohn Quartet in D Major Opus 44 No 1

Managed to get my Tchaikovsky CD autographed by all of them, therefore met David Waterman for the third time as the past couple of times was when I met Steven Isserlis. He remembered me which was nice.


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## SiegendesLicht

Judith said:


> Saw Endellion String Quartet last night. *Ashamed to say, first time have seen a Sting Quartet live and was very impressed.* They were amazing. Seemed very informal which was nice.


My first live one is still in the future - Artemis Quartett performing Schumann and Mendelssohn.


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## Judith

SiegendesLicht said:


> My first live one is still in the future - Artemis Quartett performing Schumann and Mendelssohn.


Enjoy! You'll love it. Different to Orchestral Concerts and recitals. Found it more informal!


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## SiegendesLicht

Judith said:


> Enjoy! You'll love it. Different to Orchestral Concerts and recitals. Found it more informal!


I surely will! I am looking forward to a lot of enjoyment in the next season - at least seven different performances including one string quartet and two lieder recitals - seven reports to bore the esteemed TC audience with. And there is still that trip to Bayreuth.


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## Bettina

SiegendesLicht said:


> I surely will! I am looking forward to a lot of enjoyment in the next season - at least seven different performances including one string quartet and two lieder recitals - seven reports to bore the esteemed TC audience with. And there is still that trip to Bayreuth.


I'm looking forward to your reports! I'm living vicariously through all your sublime concert experiences.


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## SiegendesLicht

*The dead men ride today!*

Arnold Schoenberg - Gurrelieder, a performance of the Hamburg Symphoniker under Kent Nagano, at the Elbphilharmonie Hamburg earlier today.

The evening is just starting, and I am already high - on music, that is.

Actually I only got to know Gurrelieder yesterday - and today I already heard them live. This is Schoenberg who does not sound like Schoenberg, before the beginning of his musical experimentation. This work is ripe with Wagnerian allusions - there is something of Tristan und Isolde in the story of the doomed lovers, something of Die Walküre in the music of King Waldemar's ghostly ride of the dead, something of Das Rheingold in the prelude... And is it really just a love story, has the lovely Tove really been killed only because of King Waldemar's jealous wife? Or is it a story of confrontation between a man and a no less jealous God, who takes away the man's most beloved because the man admits to loving her more than whatever God has to offer? The more I re-read the libretto, the more I ponder this.

And musically, this work is incredible - the tender love duets of Part I, the King's bitter, fist-shaking-towards-heaven complaint in Part II and the fierce choral interludes of the King's undead warriors in Part III - all of this led on by the gentle, restrained gestures of Kent Nagano. And of course the final grand chorus "Seht die Sonne!" as the ghosts of the old legend vanish forever to give way to the new dawn. According to one classical blogger, it is for the moments like this that the Elbphilharmonie was built, moments when every cubic centimetre of space is pierced with music, when it goes through wood, iron and flesh and becomes almost tangible. I have already experienced quite a few of such moments within her walls - and many more are coming.


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## SiegendesLicht

^ From today's report in "Hamburger Abendblatt": "But as it [the final chorus] came, that sound that the composer and the conductor economically spared until the last moments, it came with the might of a tsunami". Yes, that's exactly what it was - a tsunami.


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## Gordontrek

Got to perform some wind ensemble rep this weekend. All conducted by students. 
Grainger- Children's March
Ryan George- Autobahn
Lauridsen- O Magnum Mysterium (arr. Robert Reynolds)
Bennett- Suite of Old American Dances
Shostakovich- Festive Overture (arr. Hunsberger)

Nothing beats an orchestra, of course, but wind bands are tons of fun and are surprisingly versatile.


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## dillonp2020

Going to see Carmina Burana and the Emperor Concerto at Wolf Trap on July 28th. Should be fun, lest the pianist fouls it up.


----------



## Vox Gabrieli

Lang Lang is playing Beethoven's Emporer Concerto in my town ( Charlotte ).


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## TurnaboutVox

Ribble Valley International Piano Week, 2017

Leon McCawley (Piano)
Thursday 20th July, 7.30pm
The Croston Theatre, Westholme School, Blackburn

Programme

Schumann
Waldszenen, Op. 82

Beethoven
Sonata Op.31, No.2 in D min. "The Tempest"

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Liszt - from Années de Pèlerinage Book 1 Suisse:
Au lac de Wallenstadt
Pastorale
Au bord d’une source
Orage

Rachmaninov
Daisies No.3, Op.38
Lilacs No.5, Op.21.

Ravel - from Miroirs
Oiseaux tristes
Une barque sur l’océan

Debussy
L’isle joyeuse

Encore:
Schumann
"Des Abends" Op. 12/1 in D-flat major


I went to hear Leon McCawley play with a friend who is an amateur pianist. We were very taken with his recital, which really came alive in the second half with thoroughly some poetic Liszt readings. His Ravel and Rachmaninov were also quite excellent.


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## DavidA

I note Yuja Wang has been breaking records for skimpiest outfits! What playing though!

http://slippedisc.com/2017/07/yuja-wang-cut-back-again-on-clothing-budget/

Someone comments that they are glad the late John Ogden didn't play the Tchaikovsky in equivalent male attire!


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## SiegendesLicht

*Dies alles - hab' ich nun geträumt?*

_Have I just dreamed all this? _ - Parsifal.

It does look like a dream - maybe after falling asleep in front of TC. Just a couple days ago I was packing my stuff, getting ready for a trip to Bayreuth. Today I am back in my apartment, with the trip having already become a thing of the past... but what was in between? It surely must have been something wonderful, something like those nice dreams that you cannot stop thinking about and that keep your heart warm for days afterwards. I remember leaving the house in the middle of the night and getting on board of a Bayreuth-bound train. I remember travelling for hours across the endless fields, forests and hills of my lovely homeland, all the way from the North into Bavaria. Getting off, checking into a hotel, going out for a walk in the afternoon heat, wandering in a small park around Villa Wahnfried, climbing a tree, standing over the Meister's grave, buying a copy of Christian Thielemann's "My Life with Wagner"...

And then at some point I was walking up the legendary Green Hill, together with nearly two thousand other people in fancy clothes. Then I was seated in the very middle of the Festspielhaus, one by one the doors closed, and it became absolutely dark. And out of that darkness rose the first notes of the prelude to Parsifal. Transparent, crystal clear, they floated ever-so-softly out of the "mystical chasm" of the orchestra pit, rising higher and higher, filling the room and tenderly caressing the audience's sense of hearing. The conductor, Hartmut Haenchen, had fallen ill shortly before the performance and was replaced at the last minute by Marek Janowski. I had had premonitions about Janowski's too hurried conducting (and judging by the objective length of the performance, it really _was_ fast), but here it sounded as if the conductor savored every note, drawing it out long before letting it fade away into space. As the music grew stronger, goosebumps ran down my back. "This is it!" I thought "This is the sort of experience that remains with you forever, that you will always remember with pride - I have been in Bayreuth!"

The curtain rose, revealing a partly ruined church somewhere in the Middle East. According to the stage director Uwe Eric Laufenberg, the action takes place "there, where Christianity is under threat" - in the war-torn Middle East. While Gurnemanz and the boys perform their morning prayers, armed men in military uniforms come in to listen, Parsifal himself dons such a uniform in acts II and III and Kundry, a being torn apart between two hostile worlds, appears in a dark hijab. As concerns Gurnemanz, he, sung by Georg Zeppenfeld, was one of the stars of the evening: unbelievably powerful (I am not sure if it was his voice, the acoustics of the Festspielhaus or a bit of both), warm, with a very clear diction. His monologue "Titurel, der fromme Held" which is one of my favorite parts of the opera, was truly a thing of beauty.

Parsifal makes his appearance with not only a dead swan, but a dead boy who runs in and falls dead on the stage - and is embraced by Kundry. Whether it was symbolic of Parsifal killing a part of himself with his deed, destroying his own innocence - or only a stronger metaphor for the killing of a living being - who knows…. One of the very best parts of this overall successful staging, was the scene during the Transformation music, as Gurnemanz accompanied Parsifal into the realm of the Grail. As the curtain closed, a video projection appeared on it: the camera moving up through the roof of the destroyed church, over the city, over the country, the entire region of the Middle East, and then over all the Earth. Then it was the shot out of space, of the tiny planet orbiting the Sun, of the solar system, the galaxy, and finally a grand view of the entire universe with its billions of stars. And meanwhile out of the orchestra pit the bells pealed and the full force of the Bayreuth orchestra made the floorboards under my feet vibrate. It was as if for a few minutes the Festspielhaus became the center of the entire universe, and Wagner's music resounded out of it across the unimaginable depths of space, illuminating the barren cosmos…

And now the best part of all comes: the ceremony of the unveiling of the Grail, with all its heartbreaking bittersweetness, hope and pain. Titurel sings from behind a veil over the stage, adding to his ghostly character. Amfortas (Ryan McKinny) stands in front of a cross, wearing a crown of thorns, with wounds all over his body, and sings his tortured plea for forgiveness, ending it with sobbing. And as the Grail - a small shining chalice - is unveiled and held on high, as if blessing the audience, streams of blood begin to flow from his wounds and from under the crown of thorns, until he can stand no more and collapses. And the more ecstatic and triumphant the music sounds, the more blood keeps flowing.

A few words about the acoustics of the Festspielhaus. I am not that experienced in these matters, and do not have much to compare with, but the sound in this hall is really quite marvellous. None of the voices go under (in fact I was surprised by just how loud and clear Gurnemanz and Amfortas sounded), the loud orchestral parts do not sound too loud, and the gentle ones are still heard in perfect crystal-like clarity. The overall impression is that of a perfectly mixed sound cocktail. And then there is that wonderful feeling, as if the music came from everywhere, as if it was all around me, embraced and enveloped me. The house itself is a masterpiece, quite worthy of the Meister's genius.

Now, I realize that retelling each detail of the staging would be boring and unnecessary. You can find plenty of pictures - the flower maidens as Oriental belly dancers, Klingsor as the owner of that harem and a secret fetishist collecting crucifixes, Kundry, writhing in pain at the sight of a cross, which sight Klingsor uses to torture her, Kundry holding Parsifal in her arms after delivering the news of his mother's death, Parsifal breaking the spear thrown by Klingsow, in two, and using it to make the sign of the cross which brings down the entire realm of deceit…

As concerns the singing, the three stars of the evening were Gurnemanz (Georg Zeppenfeld), Kundry (Elena Pankratova) and Parsifal (Andreas Schager). Masterful singing, masterful acting - what more can one wish for? And the orchestra and chorus were up there with the best - something I did not even consider possible in 2017 - much less being there and experiencing such a stellar performance on my own.

Act III was more bittersweetness - in the tumultuous prelude, the scene of Parsifal and Gurnemanz meeting again, as Kundry bowed down before Parsifal, taking off his army boots and washing his feet, the second Transformation music… And that heartbreaking moment when Amfortas stood before the coffin of his dead father and asked him to plead with God for his own death.

_Mein Vater!
Hochgesegneter der Helden!
Du Reinster, dem einst die Engel sich neigten:
der einzig ich sterben wollt',
dir - gab ich den Tod!_

My father!
Most blessed of heroes!
Most pure, to whom once the angels bowed:
I, who alone longed to die,
to you brought death!

He threw off the cover of the coffin and began sifting through his hands what appeared to be Titurel's ashes. And then, as the knights gathered around him insisted that he unveils the Grail once again, he laid himself into it.

_Oh! der du jetzt in göttlichem Glanz
den Erlöser selbst erschaust…_

O you who in divine radiance
no behold the Redeemer's very self…

And the last line was one of those Wagnerian moments where the Meister's fine poetic sense and his feeling for the beauty of his native language are showcased so brilliantly. The violins on the word "Erlöser" and the sound of the word itself melted together in a chord of perfect harmony, inseparable, more beautiful than the sum of its parts. That was when I felt two large fat tears rolling down my cheeks in the darkness - so painfully lovely it was.

At this moment Parsifal appeared on stage, carrying the spear that had been reshaped into a cross. As he proclaimed salvation to Amfortas, he led the latter by the hand out of the coffin, and laid the spear there instead. And all the people present, including the monks from the Grail brotherhood, started taking their crosses and other religious symbols off and throwing them in the coffin too. They did it while singing the last two lines of the opera:

_Höchsten Heiles Wunder!
Erlösung dem Erlöser! _ -

- another one of those poetic moments where the sound of the sung words mingled with the sound of the orchestra in perfect harmony. During these lines, a powerful white light came on backstage, and all the people on the stage - Amfortas, Parsifal, Gurnemanz and the choir - slowly wandered off into this light, leaving behind the empty stage and Titurel's open coffin. And the lights in the hall came slowly on, as the music rose up to the one last gigantic flood, soaring higher and higher before slowly fading into silence...

Then I remember stumbling down the Green Hill and wishing I had brought a handkerchief with me, because the tears were still streaming. By this time it was dark, and the illuminated Festspielhaus towered up there like a fortress beneath the full moon. Then the four of us went back to our hotel's restaurant where we sat and talked long into the night - until the waiters had to politely kick us out. And the next morning I awoke in my bed and wondered for the first time - have I dreamed all of it?


----------



## SiegendesLicht

*..............*

And while I am at it:

before actually visiting, I used to hear about how uncomfortable the seats in the Festspielhaus supposedly are, and how hot and stuffy the atmosphere - due to the lack of air conditioning. None of that was true. The seats are just fine, even if not all that soft, and the temperature was quite agreeable. Hereby I am sending not-so-warm greetings to a lady somewhere behind me in row 17, who insisted on fanning herself during the entirety of Act I and providing a not particularly musical accompaniment to it. "_Wein und Brot des letzten Mahles.._. zack zack zack.. _wandelt einst der Herr des Grales..._ woosh woosh woosh..." Not that it bothered me greatly, but still, dear lady, I hope your next performance of Wagner will take place in subzero temperatures, and your... fan.. will freeze off.


----------



## Nocture In Blue

^
I attended Parsifal in Bayreuth three days ago. I was my first time in Bayreuth. I'm still mesmerized by the performance. It was one of the greatest experiences of my life.


----------



## distantprommer

I expect to be a Prommer rather than a Distant Prommer for the remainder of the Proms season. Have tickets for three Proms next weekend and hope to get more on arrival in London.

Proms already ticketed are both Concertgebouw Orchestra concerts with Daniele Gatti (music of Rihm, Bruckner, Haydn & Mahler) and the Mariinsky Orchestra with Valery Gergiev (music of Prokofiev, Tchaikovsky & Shostakovich). The Sunday matinee of the Freiburg Baroque Orchestra with Pablo Heras-Casado (music of Mendelssohn) should be confirmed soon.


----------



## Radames

I went to opera night at Tanglewood Saturday. Kristine Opolais, bass-baritone Sir Bryn Terfel and Russell Thomas who was off due to a throat infection:

PUCCINI Tosca, Act II
WAGNER "Entrance of the Guests" from Tannhäuser, Act II
WAGNER "Wie duftet doch der Flieder" (Hans Sachs' "Flieder monologue")
from Die Meistersinger von Nürnberg, Act II
DVOŘÁK "Song to the Moon" from Rusalka, Act I
DVOŘÁK Polonaise from Rusalka, Act II
GERSHWIN From Porgy and Bess:
Introduction and Jasbo Brown Blues, from Act I
"Summertime," from Act I
"I got plenty o' nuttin'," from Act II
"Bess, you is my woman now," from Act II

“La Ci darem la Mano.” for an encore. Nelsons joined in and a sang a few lines at one point. And then Terfel kicked Nelsons off the podium and began conducting.


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## Judith

Went to my first concert of the season last night at the Leeds Town Hall

BBC Philharmonic Orchestra
Conducted by Pietari Inkinen

Beethoven 1st Symphony
Grieg Piano Concerto soloist Christian Ihle Hadland
Sibelius 5th Symphony

Enjoyed it but thought the Beethoven started a bit slower than what I'm used to.


----------



## Gordontrek

Huntsville Symphony-
Pictures at an Exhibition
Carmina Burana

Marvelous performance.


----------



## SiegendesLicht

*Over troubled waters...*

Actually, at the beginning the waters were not troubled at all. It was a beautiful morning when I made my way towards the ticket office of the Elbphilharmonie, and the rising sun glowed on the smooth surface of the river and reflected off the gigantic glass fassade. The work on today's program was Mahler's 9th symphony - a piece I have been waiting to hear for months. I had listened to it, and particularly to the heartbreakingly beautiful last slow movement, a few dozen times at least. Now the great day has come, when I would hear it performed live by our NDR Elbphilharmonie Orchestra, conducted by Thomas Hengelbrock, in the great hall of the Elphi, in a concert that would be recorded for a later release on CD, my first concert in this 2017/18 season.

About one and a half hour later, the ritual of standing in line and ticket purchase successfully completed, I am walking upward with said ticket in hand, towards my balcony. My heart beats a little faster as I smell that familiar scent of a brand new building, of fresh wood and paint and gypsum still lingering in the halls. It is the first time since June that I am walking through these halls, and what a joy it is to be there again! For the next half hour I am wandering around, up and down through all the levels of the magnificent concert hall. On one side is the Port of Hamburg and the wide gleaming band of the Elbe, curving gently and disappearing in the distance. On the other side is Hamburg itself, all laid out before me. It is a bit like climbing a mountain, a man-made one. The world with all its troubles remains down below; here on the heights is only peace and bliss. And the music is just about to begin...

... Unfortunately, as Maestro Hengelbrock began to lead his orchestra through the first slow movement of Mahler's epic farewell symphony, the only irritation of this day began as well: the coughers! The audience had been forewarned about today's performance being recorded for an eventual CD release (a great idea, personally I would love to get an entire cycle of Mahler's symphonies performed by the NDR Elbphilharmonie Orchestra). It seemed that this fact made the coughers cough particularly intensely and choose particularly quiet tender passages for it. What was it: common human nastiness, the sort of thing that makes teenagers paint graffiti on clean new walls just for the heck of it? Or desire for a moment of fame ("listen to that moment, it was ME who coughed right then!"), or maybe they really could not control it?

And still the music went on, soaring upwards to me from down below. And it was a particular delight to hear just how crystal-clear the quiet passages sounded: sometimes almost dying down into silence and yet every slightest touch of every instrument heard with perfect clarity in this most amazing space. Just recently I had read an interview with the Finnish conductor Esa-Pekka Salonen after his visit to the Elbphilharmonie with the Philharmonia Orchestra London. "It's a great joy to play in your living room" and "In this hall you can play very, very quietly - and then it sounds so beautiful!" - he had said.

In the pause before the third and fourth movements I whispered to my neighbor (with whom I had conversed a little back in the ticket office line): "Now the most beautiful part comes!" And truly, it was the most beautiful part of all. It was as if here, in this concert hall built above the waves of the river, the music itself acquired all the power of a flood. It rose in gigantic waves from down below, fierce and sweet. Back in April, while listening to Mahler's 8th, performed by the same orchestra in the same concert hall, I felt as if I could step off my balcony and walk on the sound waves like Jesus walked on water. Now, I momentarily saw myself standing up straight and leaping from my balcony head down into this flood, like an Olympic springboard diver. To sink, to drown... _(Dear readers, if you are at this point worried about one day reading about a crazy concert goer at the Elbphilharmonie Hamburg who broke her and somebody else's neck by diving from a balcony into the orchestra, do not worry - this is not going to happen.)_ And the waves lingered for a few moments as if in slow motion, before breaking down again. One climax came like a thundering tsunami that made the floor under my feet vibrate, and another one... And then the troubled waters of Mahler's 9th symphony grew still, the last minutes of music fading away, ever softer, ever lighter, but still lingering, until the very last note soared almost imperceptibly upwards, in the great hall of the Elbphilharmonie, high above the Elbe, above the port and the city of Hamburg - and after that only silence remained.

The performance lasted exactly 1 hour and 23 minutes. By the time I was out of the hall, the weather was changed: the sun was gone, and the rain was ferociously pelting down on the river. Had the farewell symphony of Mahler something to do with this sudden transformation? Who knows.


----------



## Judith

Last night saw

St Petersburg Symphony Orchestra 
Conducted by Alan Buribayev

Performing
Prokofiev Symphony no 1 (classical)
Tchaikovsky Piano Concerto no 2 wonderful performance from Peter Donohoe
Tchaikovsky Symphony No 6 (Pathetique) (that's why posting about it this morning as fascinated) They encored with

Bach Air on a G String
Brahms Hungarian Dance No 1

Altogether an amazing performance

Took place at Leeds Town Hall


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## senza sordino

Last night Evelyn Glennie performed the Jennifer Hidgon Percussion Concerto with my local orchestra, The Vancouver Symphony. It was a smashing performance. (I choose my words carefully.) She had a lot of running around to do to get to all the instruments, it was as much ballet as music. Very interesting music, lots of contrast and moods. The cadenza was quite something to listen to, for a minute I though I was listening to a John Bonham solo, an extended 1970's drum solo. It was all quite thrilling to watch and listen to. Evelyn Glennie is amazing. 

The second half of concert the symphony performed Shostakovich symphony no 10. Thoroughly enjoyable. 

This will be Bramwell Tovey's last season with us, it'll be sad to see him go. I will see his final concert next June (Mahler 2)


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## Nocture In Blue

I've been to some fine concerts in the latest weeks. First I attended a performance of Mahler's Eighth symphony with the The Danish National Symphony Orchestra conducted by Fabio Luisi. It's an extraordinary experience to hear this piece live.Luisi did chose some strange tempo choices in in many places, I don't get why. And the boys choir was a bit off at places. But overall it was a pretty good performance. But I was a little disappointed. Maybe they didn't rehearsed enough? I don't know. It is a huge and complex piece.

A week later I saw Hélène Grimaud perform Ravel G major concerto with the Gothenburg Symphony Orchestra conducted by Lionel Bringuier. It was absolutely great. She played it perfectly. Grimaud is in my opinion one of the greatest living pianists. As an encore they did the first movement again. 
The second piece on the program was Berlioz Symphonie Fantastique. Also very good. I liked Bringuier's interpretation very much. If you're interested you can watch it here:

https://www.gso.se/gsoplay/klipp/symphony-fantastique-sv/

It is available until 9 November. (I hope the link works).

Then I attended a chamber concert some days later, also with Grimaud and members of the Gothenburg Symphony Orchestra as soloists. 
The program: Brahms Cello Sonata no 1. I must say that I hadn't given this piece enough attention before. It is wonderful! A perfect dialogue between the piano and cello.
Next piece on the program was Schumann's Fantasy Pieces for Clarinet and Piano, this piece, sadly, sounded awful. The clarinetist seemed to have some trouble with her reed. The instrument gave out some horrible screams in the higher passages. Between the movements she tried to change her reed but she seemed to stressed and kept using the "ugly one". It felt like the applause was out of pity rather then out of admiration. Well, the applause for Grimaud was most likely genuine.

Then it was time for Debussy's Sonata For Cello & Piano, a piece I'm completly in love with. The same cellist from the Brahms Sonata played beautifully again.
Debussy uses the instrument in a most remarkable way. It is an enchanting piece!
The last work on the program was Ravel's second Violin Sonata with the GSO concertmaster as soloist. It's a charming piece. Maybe not one of Ravel's major achievements but still a great work. So that was another good concert.

My next concert was Mahler's Seventh Symphony with the Malmö Symphony Orchestra counducted by Robert Trevino. I liked his interpretation. A little slower tempi than Mahler wrote it, but very intensely conducted. The mandolin in the fourth movement was sadly barely hearable. I don't know why, the new concerthall in Malmö has great acoustics. Possibly the best in Sweden. Last time I heard the seventh live was with the Gothenburg Symphony Orchestra with Dudamel.I must say that I preferred Trevino's approach to the work.

Here at the end I would like to apologize for my terrible English.


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## SiegendesLicht

^ First, your English is not terrible at all. Personally I find it very, very good.

Second, hearing two Mahler symphonies within a few weeks must be amazing. I myself have heard two within last week. The first one was Mahler's 9th I wrote about above. The second was a performance of Mahler's 6th by the visiting Cleveland Orchestra and Franz Welser-Möst, and it was even better than the first. It was a real tour de force, so wonderful that I cannot even find many words to write about it. Sitting just a couple meters behind the conductor and watching him passionately leading his orchestra and hearing the music just about set the concert hall on fire was an unforgettable experience - one of the highlights of my musical life up to this point (together with hearing Parsifal in Bayreuth and some others). I have worn a perpetual grin on my face for days after that. 

Mahler himself famously said that a symphony must contain the whole world. Experiencing these worlds recreated one by one within the walls of the Elbphilharmonie is a great joy. So far it has been the 8th, the 9th and the 6th. The 3rd is coming up next April, and the 5th is on the program some time in February. I feel like a kid who has been led into a gigantic candy shop and left there to roam at pleasure.


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## padraic

Saturday evening (11 Nov):

Bach, J.S.: Violin Concerto in A Minor
Bruckner, A: Symphony No. 8 in C Minor (ed. Haas)

Philadelphia Orchestra
Yannick Nézet-Séguin


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## Judith

Went to see local orchestra

Leeds Symphony Orchestra

Performed 

Weber Oberon
Lalo Rapsodie Norvégienne
Ben Munro The Chase (a student from the local grammar school composed this for the orchestra) was a lovely piece
Elgar Cello Concerto in E Minor
Brahms Symphony No 2

Soloist Maria Marshall
Conductor Martin Binks

Have got to know Martin a bit as he gives talks at our local music society. Was going to go to another concert that evening but when I last saw him he made a point that they were performing Brahms as he knows he is one of my favourite composers. How could I resist?????


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## SixFootScowl

Last night I attended the Mahler 5th concert at Hill Auditorium on the campus of the University of Michigan. It was an excellent performance with the New York Philharmonic returning for its second major UMS residency. Jaap van Zweden, conductor, Mahler, Symphony No. 5.


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## TurnaboutVox

Friday, 17 November, 2017 - The Bridgewater Hall, Manchester, UK
*
The Sixteen Choir & Orchestra, Harry Christophers (conductor)

J.S. Bach *
Brandenburg Concerto No.3 in G
Singet dem Herrn - motet
Gloria in excelsis Deo (Cantata BWV 191) 
Sinfonia from Cantata BWV 156 
Jesus bleibet meine Freude - Jesu Joy of Man's Desiring
Sinfonia from Cantata BWV 75
Magnificat in D

This was Mrs. Vox's choice of concert but in the end she had a play rehearsal that evening so the second ticket was used by my son. We both enjoyed a performance of filigree delicacy and precision from both the instrumentalists and the choir, from whom the soloists were drawn. I have heard the Sixteen before - they are a very coherent and impressive ensemble.


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## TurnaboutVox

Saturday, 18th November, 2017 - St. Paul's Hall, Huddersfield, UK.

Huddersfield Contemporary Music Festival / The University of Huddersfield

*
Ensemble Modern + Arditti Quartet

Carole Bauckholt* - Laufwerk (2011)*
Christopher Trapani* - PolychROME (2017)
~~~*
Brian Ferneyhough* - Umbrations (2017)

This was a great concert, three utterly absorbing pieces for chamber orchestra and electronics in various configurations. The musicians of the Ensemble Modern and the Arditti Quartet are completely dedicated to interpreting contemporary music and it shows. My son Rob and I enjoyed this enormously - I commented to him that four years ago on our first visit to the HCMF I found much of what we heard quite difficult to appreciate - was it engineered noise or music? But four years of concentrated listening to modernist and contemporary works have made me listen to works such as these as simply 'music'. As others have said elsewhere, what is more important in this music is often texture, timbre, rhythm, the combination of sounds, gesture etc. rather than melody, and beauty is often found in unexpected places. Occasionally during the Ferneyhough work I felt as if a piece of music by Rachmaninov or Johann Strauss was being subtly hinted at just from the underlying rhythm and 'feel' of the piece. Fascinating. Brian Ferneyhough was in the audience and came to the floor to take the prolonged applause for his 'Umbrations'.

I had and have a very heavy cold - it took great concentration not to break the spell by sniffing, coughing or sneezing! I am in great debt to a packet of cough sweets bought at the railway station on the way to the concert.


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## TurnaboutVox

SiegendesLicht said:


> ... Unfortunately, as Maestro Hengelbrock began to lead his orchestra through the first slow movement of Mahler's epic farewell symphony, the only irritation of this day began as well: the coughers! The audience had been forewarned about today's performance being recorded for an eventual CD release (a great idea, personally I would love to get an entire cycle of Mahler's symphonies performed by the NDR Elbphilharmonie Orchestra). It seemed that this fact made the coughers cough particularly intensely and choose particularly quiet tender passages for it. What was it: common human nastiness, the sort of thing that makes teenagers paint graffiti on clean new walls just for the heck of it? Or desire for a moment of fame ("listen to that moment, it was ME who coughed right then!"), or maybe they really could not control it?


Have pity! I have a heavy cold but I wouldn't have wanted to miss hearing either concert I attended this weekend. And I was trying my best not to cough or sneeze!


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## SiegendesLicht

^


TurnaboutVox said:


> I had and have a very heavy cold - it took great concentration not to break the spell by sniffing, coughing or sneezing! I am in great debt to a packet of cough sweets bought at the railway station on the way to the concert.


You have made the effort - kudos to you for that. Some others did not.


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## Judith

Another local orchestra
Airedale Symphony Orchestra 
Conductor John Anderson

Solo Violin Andrew Long ( Guest Leader)


Tchaikovsky Sleeping Beauty Suite
Stravinsky Firebird Suite
Rimsky-Korsakov Scheherazade 

As not too familiar with Stravinsky, Firebird did have some surprises and now looking for a recording.


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## Merl

Judith said:


> Another local orchestra
> Airedale Symphony Orchestra
> Conductor John Anderson
> 
> Solo Violin Andrew Long ( Guest Leader)
> 
> Tchaikovsky Sleeping Beauty Suite
> Stravinsky Firebird Suite
> Rimsky-Korsakov Scheherazade
> 
> As not too familiar with Stravinsky, Firebird did have some surprises and now looking for a recording.


Try this one, Judith. A very nice fiery Firebird from Dudamel.


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## Judith

Merl said:


> Try this one, Judith. A very nice fiery Firebird from Dudamel.


Thank you but looked at Amazon and couldn't get it on CD. Like Dudamel too! In the end went for Simon Rattle and CBSO as it has Rite of Spring, Petrushka and Apollo on it. Peter Donohoe is playing piano on it and saw him live recently.


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## Templeton

Wednesday 29th November 2017, at The Royal Festival Hall, London:

Chausson: Poème, Op.25
Respighi: Autumn Poem
Joseph Marx: An Autumn Symphony/Eine Herbstsymphonie

London Philharmonic Orchestra 
Vladimir Jurowski - conductor
Julia Fischer - violin

An incredibly rare opportunity to hear the Austrian composer, Joseph Marx's immense 1921 work. In fact, so rare that it was its first UK performance and the only recording of which I am aware is the (incomplete?) live 2008 one by the American Symphony Orchestra, conducted by Leon Botstein.

It's a complex work, apparently classed as from the school of 'romantic impressionism'. It reminds me, in parts, of Franz Schmidt, Richard Strauss and Korngold, although other reviewers make comparisons with Zemlinsky, von Hausseger and even Mahler and Vaughan Williams. Whilst there may be some similarities, the overall work is unique, at least in terms of anything else that I have heard.

As its title suggests, it provides a _'huge, sumptuous musical panorama of the world in autumn, written for an enormous orchestra, and bathed in radiant colours and lush romantic melodies'_. The structure of the piece is unusual in terms of _'superimposing yearning melodies and bi-tonal effects, and by unexpectedly changing keys'. _

Like many of these nature symphonies, the logistics of performing such works is challenging, due to the size of the orchestra required, particularly within the percussion, horn and woodwind sections. As a live experience, however, it is breathtaking and the sole recording pales in comparison. The Chausson and Respighi performances also sounded far superior to the recordings that I had listened to, prior to attending, the soloist, orchestra and conductor translating the somewhat turgid experience of the recordings into bright, stimulating and uplifting performances.

Whilst the performance of Marx's symphony was not flawless, inevitable I suppose, given its complexity and the fact that none of the musicians will have had previous experience of performing it, the overall experience was magnificent. Vladimir Jurowski and the London Philharmonic management deserve enormous credit for having brought it to these shores for the first time. Hopefully, we won't need to wait another century, before hearing it performed here again.

I drove down to London and back, from the North of England, a nine hour drive, in total, so it was a long day. I am happy to report, however, that it was well worth it. Bravo to Maestro Jurowski and the LPO!


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## SiegendesLicht

^ Beautiful report, thank you. I wonder why more people do not write in this thread. Sometimes I come across "Just last Sunday I have heard this and this work live.." in threads dealing with other subjects, and then I think: "Well, how was it? Was it breath-taking or earth-shattering, or fire-igniting, or just average? Why don't we read more about it?..."


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## Templeton

SiegendesLicht said:


> ^ Beautiful report, thank you. I wonder why more people do not write in this thread. Sometimes I come across "Just last Sunday I have heard this and this work live.." in threads dealing with other subjects, and then I think: "Well, how was it? Was it breath-taking or earth-shattering, or fire-igniting, or just average? Why don't we read more about it?..."


Thank you very much for your kind words, SiegendesLicht. My review does not compare in quality with your wonderful accounts on this forum, unfortunately, but hopefully it provided some flavour of the experience. It was a wonderful day, enhanced by a lovely walk along the Thames beforehand, on what was a beautiful, clear and very crisp evening. I feel privileged to have been there.

A more detailed and professional review is provided by another attendee in the following account:

https://bachtrack.com/review-marx-autumn-jurowski-fischer-london-philharmonic-november-2017

Some of the reviews in the national press were more mixed, however.


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## Roger Knox

SiegendesLicht, I just discovered this thread through Templeton's post and will follow it now. We have some good concerts and operas in Toronto to report on.


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## TurnaboutVox

Templeton said:


> Wednesday 29th November 2017, at The Royal Festival Hall, London:
> 
> Chausson: Poème, Op.25
> Respighi: Autumn Poem
> Joseph Marx: An Autumn Symphony/Eine Herbstsymphonie
> 
> London Philharmonic Orchestra
> Vladimir Jurowski - conductor
> Julia Fischer - violin
> 
> An incredibly rare opportunity to hear the Austrian composer, Joseph Marx's immense 1921 work. In fact, so rare that it was its first UK performance and the only recording of which I am aware is the (incomplete?) live 2008 one by the American Symphony Orchestra, conducted by Leon Botstein.


I read this review in the Guardian today, Templeton.

https://www.theguardian.com/music/vladimir-jurowski


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## Templeton

TurnaboutVox said:


> I read this review in the Guardian today, Templeton.
> 
> https://www.theguardian.com/music/vladimir-jurowski


Thanks TurnaboutVox. I had seen the review already and found it harsh but then I would, as I really enjoyed the performance and love the piece. It clearly did drag for the reviewer as he timed the symphony at eighty minutes, whereas in reality, it was of sixty minutes duration. I can see how some may also have struggled, as Jurowski merged the first two movements, so that the audience had to wait over half an hour for its first coughing/clearing throat break .

Unfortunately it was nowhere near a sell-out, so I suspect that it may be quite some time before there is another performance in the UK. Hopefully, however, we won't have to wait another hundred years or so. Anyway, the concert was recorded and there are discussions, I believe, about releasing this on the LPO label, so at least it will provide the opportunity for a wider audience to hear the full work, as opposed to the only current recording, which I believe to be both inferior (although still very good) and possibly truncated. Thanks again.


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## Judith

Last night, went to see another local orchestra. West Yorkshire Sympgony Orchestra conducted by Davide Levi.

Performed 

Dvorak The Noon Witch
Grieg Piano Concerto soloist Lee-Jae Phang
Tchaikovsky Symphony no 5

Wonderful performances given by all.


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## SiegendesLicht

Templeton said:


> Thank you very much for your kind words, SiegendesLicht. My review does not compare in quality with your wonderful accounts on this forum, unfortunately, but hopefully it provided some flavour of the experience. *It was a wonderful day, enhanced by a lovely walk along the Thames beforehand, on what was a beautiful, clear and very crisp evening.* I feel privileged to have been there.


That too sounds beautiful. You are taking a walk along the Thames before your concert; I am taking a walk along the Elbe 

The last concert I attended was actually a program of British music, with the NDR Elbphilharmonie Orchestra this time being led by the Englishman Andrew Manze. I have found a review of it on the same website you have linked:

https://bachtrack.com/review-walton-vaughan-williams-manze-gerhardt-elbphilharmonie-hamburg-november-2017

The highlight of the evening (for me at least) was Ralph Vaughan Williams' London Symphony with its nostalgic visions of the great city's squares, embankments and moods. After it was over, I stood for a long time looking down at the city of Hamburg out of the scenic windows of the Elbphilharmonie, thinking about how the London Symphony could be a "Hamburg Symphony" as well, how I would compose a symphonic portrait of Hamburg if I myself were Ralph Vaughan Williams and how I would write everything that makes up this city - the Elbe, the ships and the hectic activity at the container terminals, the churches and the Reeperbahn, and of course the Elbphilharmonie itself into it. Being a solitary concert goer, I usually have plenty of time at my disposal for such ruminations. Then I went home and put these lines from yet another Englishman Kipling into my signature:

God gave all men all earth to love,
But since our hearts are small,
Ordained for each one spot should prove
Beloved over all.

I love this kind of musical nationalism. Wagner, Sibelius and now Vaughan Williams...


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## Templeton

SiegendesLicht, your post prompted me to listen again to 'A London Symphony'. The same conductor that you mentioned but different orchestra, coincidentally my hometown one, The Royal Liverpool Philharmonic Orchestra. It's my favourite Vaughan Williams symphony but my first time listening to this recording and what a fine one it is too.

It's somewhat apt, given the links between our two great port cities and your beautiful account of your evening at the Elbphilharmonie resonates wonderfully with images of all three of these great cities. It reminds me that I am long overdue a return to one of my favourite countries and cities. 

I too now tend to be a solitary concert goer but next time I attend the Philharmonic, in Liverpool, I will be reminded of your deep and meaningful remarks, as well as the words of Kipling. Thank you and best wishes, as always.


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## SixFootScowl

Just attended Handel's Messiah last night. It was wonderful.

UMS Choral Union
Ann Arbor Symphony Orchestra
Scott Hanoian, conductor

Brenda Rae, soprano
Avery Amereau, contralto
Sean Panikkar, tenor
Christian Van Horn, bass-baritone

Joseph Gascho, harpsichord
Scott Van Ornum, organ

Hill Auditorium at the University of Michigan, Ann Arbor.

I keep this as an annual event since in 2013. Thankful for the contralto. 2013 had a countertenor.


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## Pugg

We went to see Daniil Trifonov in Amsterdam.
Before he played one singe note they brought the house down, his playing is so extraordinary/ full of meanings and emotion, he sometimes seems sounding like the world wonder 8th., so you can imagine when he was finished........
He's the best on this moment, no contest.


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## newyorkconversation

Emerson String Quartet
Alice Tully Hall
Lincoln Center
NYC
Nov 28

Program: 
Beethoven: String Quartet No. 13 in B-flat Major, Op. 130, with Alternate Finale 
Shostakovich: String Quartet No. 13 in B-flat minor, Op. 138
Beethoven: Grosse Fuge, Op. 133 

Op.130 was great: enjoyable and assured. I'm not convinced Beethoven's publisher was wrong to insist on a new Finale, even if it's a bit "classical" -- I like "classical". My first time seeing the Emerson Quartet. 

The Shostakovich was absolutely transfixing. For me it was revelatory. Completely different experience live than on recordings. Harrowing, liquid sound art. I knew very little about this work before the performance (written in 1970 as the composer faced his mortality). I'd run to see it again, especially by the Emersons.

After the Shostakovich (especially after its close!), the ostensible dissonance of the Grosse Fugue was attenuated a bit (I'm assuming this was the point of the program's sequence). For me it was a great piece of ensemble playing, where the later sections held their own against that monster opening.

My first concert report here.


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## eugeneonagain

14th of December - 'Autumn' concert.
Utrechtse Studentensymfonieorkest

Conductor/dirigent: Bas Pollen

I just got back from this evening about an hour and a half ago. The programme was:

Bartok: Kossuth
Shostakovich: 4th Symphony

This student orchestra were marvellous. Sometimes people are reluctant to attend these concerts thinking that they are not up to par, but these orchestras are enthusiastic and never jaded. The majority of members in this orchestra are students of other disciplines like medicine, physics, astronomy, sociology, nursing, and yet they also play instruments to concert level.

Kossuth from 1903 is a symphonic poem (very much in the mould of Strauss) written as a symbol of the Hungarian revolution of 1848. The "Kossuth" of the title was the governor between 1848-49 and brief independence.

It was convenient that I was seated behind the horn section (8 horns there for the Shostakovich) because the main theme is taken by the horns. At the opening there was just the faintest bit of a wobble from horn 7, but it was quickly forgotten when the violas joined the horns. This work is pretty much a romantic piece, but there are unmistakable threads of later Bartok that keep appearing, particularly in the string and woodwind writing. The percussion section were having a ball, but it was nothing compared to what they were going to do in the following piece...

The Shostakovich, as many here will already know, is a three-movement symphony with two longer movements (roughly half an hour each) sandwiching a shorter movement of 8 minutes. The piccolos coupled with the xylophone (about 1.5 metres away) nearly blew my eardrums when they kicked in! 
There are so many different shades to this symphony, it has sections of straight-up, hyper-melodic tonality and others of almost raging atonality with walls of crashing sound. There are also contrasting rhythms between the sections of the orchestra. Also some unusual sections of repetitive motifs - supposedly influenced by Mahler's treatment of material.

The difficult part for the strings about 15 minutes into mvt 1, where the violins go like the clappers in layers, was handled very well. Leading to a massive crescendo of the entire 100+ orchestra. From there the movement proceeds to fade away in a most unusual way.

The second movement has lots of room for the woodwinds to shine melodically and in terms of 'special effects' from blending the different timbres. They get to play alone on many occasions and as a small wind-band and the 1st bassoon was particularly excellent. Once or twice there was a small squeak from the E-flat clarinet, but it does have to play quite high.

The opening of the last movement is the 'funeral march'. This movement is the one that really tests the players, lots of tricky rhythms and sharp changes of pace. Again the woodwinds get a good outing and both the brass section and (7-8) percussionists were having a fine old time of it; it's an amusing sight to see the tubas inserting and removing the enormous mutes they have to use. 
Two tympanists for this one, a bass drum player, Tam-tams, cymbals, snare drummer, glock-xylophone player, celesta, sundry minor percussion and the amusing sight of the 2nd harpist slipping up to the percussion podium to fill in on the gong, before going back and immediately getting to work on the harp again!

There are some lovely soaring melodies woven in and out of the this movement. The little tweeting flute duets and trios about halfway through, followed by a little march played on the bassoon, then the falling in and out of a lilting waltz played by woodwinds backed by pizzicato strings, interspersed with brass (which has a flavour of Carmen..). There are actually a lot of fugal elements going on the middle of this movement. Then a total contrast of almost grandiose Wagnerian character before the final 5 minutes of brooding low brasses and woodwinds over timpani pulsing like a heartbeat, the strings playing in a high register, but _sotto voce_ and celesta picking out notes. It fades to nothing of course and I swear you could hear a pin drop as the movement ended.

There was a 10 minute standing ovation. After which the entire orchestra gathered in the middle of the podium and sang the most haunting choral rendition of something I didn't recognise (not big on vocal music). It sent the chills up my spine.

A most splendid evening.


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## newyorkconversation

Bach - Brandenburg Concertos
Chamber Music Society of Lincoln Center
NYC
Dec 15 2017

Lovely, spirited performance of concertos 1-6 by an excellent group of musicians (listed here: https://www.chambermusicsociety.org/nyc/events/upcoming/brandenburg-concertos-december-15-2017/)

Daniel Phillips from the Orion Quartet was a violin standout. Joseph Conyers was perfect on double bass. Really liked Yura Lee on viola.

My only quibble (which can't really be helped) is that I would have liked the harpsichord to be a little louder versus the other instruments. (hmm, maybe I should go invent a pianoforte that uses hammers and can get loud...)


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## Judith

Last night, went to see
Halle Orchestra conducted by Sir Mark Elder

They performed
Delius. Paris
Ravel. Piano Concerto in G(soloist Anna Tsybuleva)
Bach(orch Elgar) Fantasia and Fugue
Elgar. Enigma Variations

Took place at my favourite building "Leeds Town Hall"


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## Haydn man

Judith
Quite a few years since I went to Leeds Town Hall, with good memories of performances by Anne Sophie Mutter, Vernon Handley, Sir Georg Solti to name a few.
The only problem seemed to be the acoustic if memory serves me right.


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## Judith

Haydn man said:


> Judith
> Quite a few years since I went to Leeds Town Hall, with good memories of performances by Anne Sophie Mutter, Vernon Handley, Sir Georg Solti to name a few.
> The only problem seemed to be the acoustic if memory serves me right.


Don't think acoustics too bad. My avatar is a picture of LTH.


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## Judith

Well, less than a week to go till I see Joshua Bell and ASMF. Hair, dentist, chiropodist and beautician done. Well, never know, have to look nice for him lol


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## Haydn man

Judith said:


> Well, less than a week to go till I see Joshua Bell and ASMF. Hair, dentist, chiropodist and beautician done. Well, never know, have to look nice for him lol


Is that in Manchester?


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## Judith

Haydn man said:


> Is that in Manchester?


Yes at Bridgewater Hall!


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## Haydn man

My wife and I along with a couple of friends will be in the audience too
Looking forward to it


----------



## newyorkconversation

Just saw Mahler's 1st performed by the Royal Concertgebouw Orchestra at Carnegie Hall in NYC. 

Amazing performance, amazing orchestra. Wonderful musicianship in all sections, the ensemble brought to life beautifully by the maestro, a huge range of tone colors and moods through the course of the piece, and those horns!

Janine Jansen soled in Bruch's Concerto No. 1 to start the concert - it is perhaps a mark of how strong the Mahler was that her performance, while spirited and virtuosic, seems already remote in memory by comparison to the symphony that followed.

One move that was interesting (and perhaps influenced by the Bruch?) was that Gatti moved almost immediately from the third movement (a funeral march) into the fourth movement (which opens with great drama). We were catapulted right into the middle of the maelstrom.

Having listened to recordings of the piece for several days leading up to the concert, the real thing reminded me that nothing can replace the sound of a great orchestra in a a great hall in the hands of an excellent conductor.


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## Balthazar

Last week -- The Detroit Symphony Orchestra under Leonard Slatkin

Fauré ~ _Pelléas et Mélisande Suite_, Op. 80

Beethoven ~ Piano Concerto No. 2 in B flat, Op. 19 (12 year old Harmony Zhu at the piano)

Mozart ~ Symphony No. 41 in C, K 551, "Jupiter"


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## Balthazar

Small concert by University of Michigan graduate students -- nice selection of pieces not often heard in concert.

*Chopin* ~ Polonaise-Fantaisie in A flat, Op. 61

*Charles Martin Loeffler* ~ 2 Rhapsodies for Oboe, Viola, and Piano
_L'Étang_
_La Cornemuse_

*Mozart* ~ _Ch'io mi scordi di te?... Non temer, amato bene_

*Canteloube* ~ from _Chants d'Auvergne_
_Pastourelle_
_L'Antouèno_
_La pastrouletta e lou chibalié_
_La delaïssádo_

*Mozart* ~ _Vorrei spiegarvi, o Dio_


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## senza sordino

I attended the first concert from the New Music Festival on Thursday and I will attend my second on Monday night. Thursday's concert was terrific, the highlight being the Louis Andriessen piece "Workers Union", for two percussionists, violin, cello, bass, flute, clarinet and piano. Andriessen is a living Dutch composer, Workers Union is from 1975. It's an unrelenting rhythmic barrage of music, intense, loud and mesmerizing. Monday night Rachel Barton Pine will perform the World Premier of Marcus Goddard's Violin Concerto. He is a local composer. 

Nice thing about this festival is that we can mingle with performers and composers afterward the concert.


----------



## Gordontrek

Huntsville Symphony tonight:

Brahms- Variations on a Theme of Haydn

Berg- Violin Concerto feat. Elina Vahala

Beethoven- Symphony 7


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## Judith

Haydn man said:


> My wife and I along with a couple of friends will be in the audience too
> Looking forward to it


We're on front row, right in front of him


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## Eramire156

*Last Night at the Symphony Center*

My first CSO concert of the season.

















The highlight of the concert for me was the Bartok, for my husband it was the Mozart. The guest conductor Rafael Payare a product of the "El Sistema" of Venezuela, led the Chicago Symphony well judged performance of the Concerto for Orchestra finding the tempo juste. Having close to a dozen recordings of the Concerto, it was for me a much anticipated event to here it live.


----------



## Judith

Absolutely amazing concert last night with Joshua Bell and ASMF.

Vivaldi Four Seasons 
Edgar Meyer Overture for Violin& Orchestra
Beethoven Symphony no 2.

Met Joshua afterwards. Got two autographs and a photo taken with him. Think I'm in love lol


----------



## Merl

Judith said:


> Met Joshua afterwards. Got two autographs and a photo taken with him. Think I'm in love lol


Did he pluck your strings, Judith?


----------



## Guest

Merl said:


> Did he pluck your strings, Judith?


The G-string.... ?


----------



## Haydn man

Judith said:


> Absolutely amazing concert last night with Joshua Bell and ASMF.
> 
> Vivaldi Four Seasons
> Edgar Meyer Overture for Violin& Orchestra
> Beethoven Symphony no 2.
> 
> Met Joshua afterwards. Got two autographs and a photo taken with him. Think I'm in love lol


Agree an excellent evening
I wondered who that was in the front row jumping up and down at the end


----------



## Judith

Haydn man said:


> Agree an excellent evening
> I wondered who that was in the front row jumping up and down at the end


Met him afterwards. Two autographs and a photo. He was so nice


----------



## Merl




----------



## Gordontrek

Just returned from one of the best concerts I've ever been to. The Orpheus Chamber Orchestra, one of my favorite ensembles, came to town, and brought with them Tine Thing Helseth, one of my favorite trumpet soloists.
The program was:

Rossini- Il signor Bruschino overture
Albinoni trumpet concerto in D minor Op.9 no. 2, and Bach trumpet concerto in D BWV 972, feat. Helseth. 
Haydn- Nottorno no. I Hob II:25
Mozart- Symphony No 40

The orchestra was the closest to perfection I've seen in any musical ensemble, and Helseth sounded wonderful. Definitely an inspiration to me as a trumpet player. After the end of the Bach, she actually _sang_ a pop tune as an encore. Suffice it to say she's better at the trumpet, but it was fun anyway. 
At the end of the program, Orpheus played Elgar's Salut D'Amour for an encore. I may or may not have had to resist the influence of nearby onions.


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## senza sordino

Two concerts:

New Music Festival
Last Monday night I attended a world premier: Rachel Barton Pine performed a violin concerto of a local composer Marcus Goddard. It was terrific. It was quite difficult to summarize, and I'm writing six days after the event. It was in three traditional movements, fast, slow, fast. The second movement was especially impressive. I got RBP's autograph after, she signed my ticket. The orchestra also performed a few other pieces including Ciel d'hiver by Kaija Saariaho. A good and entertaining evening of music, even though I hadn't heard any of it before. 

Last Night
Strauss Oboe Concerto, nicely played by the principal oboist of the symphony orchestra. The second half of the concert was Berlioz Symphonie fantastique. For the second half the orchestra was joined onstage with the Youth Symphony for double the forces. Each professional was paired with the youth. Two of my students play with the youth symphony. One of these students gave all eight of his teachers a pair of tickets (I am not a music teacher). So I went to the symphony with many of my teaching colleagues. As a regular attendee I explained all the protocol and explained the story behind the pieces. Afterwards at the backstage door we met and congratulated our students and we had several photos taken. A fun evening.


----------



## distantprommer

Friday we went to Merida and on the spur of the moment decided to go to the concert given by the Orquesta Sinfonica de Yucatan, Juan Carlos Lomonaco conducting an all Russia Program. 
Rimsky-Korsakov - Great Russian Easter Overture
Rimsky- Korsakov- Capriccio Espagnol
Tchaikovsky- Symphony No 1, "Winter Dreams"

The orchestra always surprises me how good they are. One could say that it is almost worthwhile the 4 hour bus ride from Playa. What the orchestra doesn't do well is to market themselves. There is no way of knowing what their future concerts will be.



We have on occasion driven up to Cancun from Playa for a concert by the Camerata de Cancun. The results are very much a mixed bag. Recently it was an all Beethoven program. Piano Concerto No 5 and the Symphony No 3. Driving back at 11 pm is no longer becoming an option for us as is catching a late bus. I have asked the Camerata to also perform these concerts in the new Teatro de Playa del Carmen here. They said that they would like to do so, but have yet to come to an agreement with the "Municipio". Hopefully this will happen soon

In any case, the Camerata, now grown to more that 50 musicians, is becoming the Orquesta Sinfonica de Cancun.


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## senza sordino

senza sordino said:


> Two concerts:
> 
> New Music Festival
> Last Monday night I attended a world premier: Rachel Barton Pine performed a violin concerto of a local composer Marcus Goddard. It was terrific. It was quite difficult to summarize, and I'm writing six days after the event. It was in three traditional movements, fast, slow, fast. The second movement was especially impressive. I got RBP's autograph after, she signed my ticket. The orchestra also performed a few other pieces including Ciel d'hiver by Kaija Saariaho. A good and entertaining evening of music, even though I hadn't heard any of it before.
> 
> Last Night
> Strauss Oboe Concerto, nicely played by the principal oboist of the symphony orchestra. The second half of the concert was Berlioz Symphonie fantastique. For the second half the orchestra was joined onstage with the Youth Symphony for double the forces. Each professional was paired with the youth. Two of my students play with the youth symphony. One of these students gave all eight of his teachers a pair of tickets (I am not a music teacher). So I went to the symphony with many of my teaching colleagues. As a regular attendee I explained all the protocol and explained the story behind the pieces. Afterwards at the backstage door we met and congratulated our students and we had several photos taken. A fun evening.


I have since talked with my colleagues who went to this concert last Saturday. For most of them, this was their first classical music concert. They all seemed to enjoy themselves and they had a fun evening. I'm glad to hear that. Although, perhaps some of this was because the tickets were free. Would they pay to go to hear the symphony? I don't know if they would all go again, but I know a couple of them would go, even if they had to pay for their ticket.


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## Casebearer

Latest concert I visited was '100 years Bernstein with Liza Ferschtman' over here in The Netherlands. All-American programming: 2 pieces by Gershwin, one by Ives, Copland and Bernstein.

Performance by Het Gelders Orkest was excellent but I had some mixed feelings on the pieces. Gershwin (Cuban Overture, An American in Paris) was allright, Ives (The Unanswered Question) was the revelation of the evening to me, incredible and very important piece, Copland (Billy the Kid Suite) was extremely disappointing against my expectations and Bernstein (Serenade for Violin and Orchestra) was extremely rewarding, also against my expectations.


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## Pugg

Merl said:


>


If you only knew how much truth there's in this picture, rules forbid me to tell you but I will keep it for a rainy day. :tiphat:


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## Judith

Went to local concert yesterday evening

Sinfonia of Leeds

They performed

Mozart Overture The Magic Flute
Shostakovich Symphony no 9
Brahms Piano Concerto no 2

Soloist Danny Driver
Conductor Anthony Kraus

Very impressed by Drivers performance of Brahms. He gave it his "all"


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## philoctetes

Last night, Rene Fleming made all the wood fixtures in Weill Hall resonate in coherence at the end of Song to the Moon. It was one if the most amazing vocal outbursts I've ever heard, think of Frank Herbert's Fremen warriors in Dune...


----------



## SixFootScowl

philoctetes said:


> Last night, Rene Fleming made all the wood fixtures in Weill Hall resonate in coherence at the end of Song to the Moon. It was one if the most amazing vocal outbursts I've ever heard, think of Frank Herbert's Fremen warriors in Dune...


Awesome! Rene is one of the best!


----------



## Pugg

philoctetes said:


> Last night, *Rene Fleming* made all the wood fixtures in Weill Hall resonate in coherence at the end of Song to the Moon. It was one if the most amazing vocal outbursts I've ever heard, think of Frank Herbert's Fremen warriors in Dune...


Your bloody lucky, for me she is the best, and not polite to talk about age but remember , Mrs Fleming( Renée) turning 59 in a few days . :cheers:


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## Gordontrek

Huntsville Symphony:

Prokofiev- Peter and the Wolf, Violin Concerto No. 1 feat. Mayuko Kamio
Tchaikovsky- Symphony No. 4

The conductor, who is Hungarian, narrated Peter and the Wolf, and tried to give the Duck a Southern accent. Use your imagination...


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## philoctetes

I just turned another year last week myself... this Friday, it's the Berlin PO wind ensemble, same venue....

Finally, post #100... making the big time.


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## corndogshuffle

Got four concerts coming up. Baltimore Symphony called and told me they were selling 4 tickets for $100. I asked if I could do that for two people so I can bring my fiancee, they say yes. Couldn't say no to hand picking four concerts for two people and only spending $200... So I got this!

Saturday, February 17 (Strathmore)
Price - _Dances in the Canebrakes_ (anyone ever heard this? I've never even heard _of_ it)
Prokofiev - _Piano Concerto No. 3 in C Major_
Mussorgsky/Ravel - _Pictures at an Exhibition_

Saturday, February 24 (Meyerhoff)
Stravinsky - _The Rite of Spring_

Saturday, April 21 (Meyerhoff)
Beethoven - _Concerto for Violin, Violincello, and Piano_
Mahler - _Symhony No. 1 in D Major_

Saturday, June 9 (Strathmore)
Bernstein - _Slava!_
Bernstein - _Symphony No. 2_
Shostakovich - _Symphony No. 5 in D Minor_


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## betterthanfine

I'm seeing Gergiev conduct the Rotterdam Philharmonic in Mahler's 7th tomorrow. Can't wait!


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## betterthanfine

betterthanfine said:


> I'm seeing Gergiev conduct the Rotterdam Philharmonic in Mahler's 7th tomorrow. Can't wait!


Whoops, I suppose this should go in the future concerts thread. Alright, let me try again! Last night, I saw the Netherlands Chamber Orchestra perform Weill's Violin Concerto, and Stravinsky's Concerto in D and Apollon Musagete. My first time hearing the Weill, wasn't to my liking all that much.


----------



## Judith

Was back at the Leeds Town Hall last night and saw

Dvořák Two Slavonic Dances, Nos 14&16
Dvořák Violin Concerto
Dvořák Symphony No 9 (from New World)

Soloist Josef Špaček
Conductor Tomáš Netopil

Tomáš Netopil was in place of Jiří Bělohlávek who sadly passed away last May.


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## senza sordino

This afternoon I saw the Emerson Quartet perform three quartets.

Haydn String Quartet in C, op 20 no 2 
Barber String Quartet, yes that quartet with the adagio for Strings, from Platoon, the movie.
Beethoven String Quartet in Bb major Op 130 #13, yes that quartet with the Groß Fuge 

It was a terrific concert, I thoroughly enjoyed it. They perform so well together as a unit. Their sound is amazing, intonation and dynamics blend as a perfect unit. It was wonderful to watch their interactions. I sat in the seventh row off to the right side, it was Festival seating, first come first served. I bumped into a couple of people I know. It was a nice afternoon.

This will be a concert I'll remember for a while. The Gross Fugue was intense, you could see the performers concentration sitting that close. The tune is still running through my head.


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## Judith

Was at "The Venue" Leeds College of Music yesterday evening and saw

Navarra String Quartet with Peter Donohoe

performing

Shostakovich String Quartet no 5 
found this had elements of Cello Concerto at the beginning

Tchaikovsky String Quartet no 1 in D Major
my favourite String Quartet

Taneyev Piano Quintet in G Minor
performed with Peter Donohoe

Lovely performances by all


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## keymasher

Last concert was an all-Ravel program at the Detroit Symphony Orchestra with Jean-Efflam Bavouzet as the soloist. The program was:

Pavane pour une Infante Défunte

Menuet Antique
(Both scored for orchestra)

Piano Concerto in G Major

Piano Concerto for the Left Hand in D Major

Suite no. 2 from Daphne and Chloe.

One of the best (and probably most fun) concerts I've ever been to. There was a risk of a pretty bad snowstorm coming through that night, so I think a number of the more trepidatious ticket holders decided to stay home. Made the seats that much better! 

Bavouzet also really delivered! He snuck in a little Debussy with an encore of L'Ilse Joyeuse, which you won't hear me complain about. Will be picking up some of his recordings soon.


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## senza sordino

Last night I saw my local professional orchestra perform Beethoven's Fourth Piano Concerto and his sixth symphony. Stephen Hough was the soloist. It was a terrific performance. The venue was not their usual location, but instead at a smaller concert hall on the university grounds. Better acoustics here. We had a guest conductor David Danzmayr currently employed in Zagreb. He seemed very difficult to follow, a lot of hand waving and not a lot of time keeping. The bassoon came in one bar early in the third movement of the symphony. 

Stephen Hough sounded great, he played with authority. He really seemed to be playing with the orchestra. Some soloists seem to just play their part and hope the orchestra follows. He really seemed to listen and watch. I thoroughly enjoyed my evening. 

I had further to go to get to the venue and it was snowing on the way home. I took the bus and train. I took a thermos of tea and some cookies. I was prepared


----------



## Judith

senza sordino said:


> Last night I saw my local professional orchestra perform Beethoven's Fourth Piano Concerto and his sixth symphony. Stephen Hough was the soloist. It was a terrific performance. The venue was not their usual location, but instead at a smaller concert hall on the university grounds. Better acoustics here. We had a guest conductor David Danzmayr currently employed in Zagreb. He seemed very difficult to follow, a lot of hand waving and not a lot of time keeping. The bassoon came in one bar early in the third movement of the symphony.
> 
> Stephen Hough sounded great, he played with authority. He really seemed to be playing with the orchestra. Some soloists seem to just play their part and hope the orchestra follows. He really seemed to listen and watch. I thoroughly enjoyed my evening.
> 
> I had further to go to get to the venue and it was snowing on the way home. I took the bus and train. I took a thermos of tea and some cookies. I was prepared


Seen Hough live twice and was amazing both times. Once in an orchestra and the other recital. Was lucky enough to meet him at the latter and he was really nice too


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## perempe

I made a mistake by buying a season ticket for 9 performances to Budapest Festival Orchestra. I attended a concert of Brahms's 3rd with the Festival Orchestra, it was much better than in Miskolc a year ago. (I still have 3 Miskolc Symphony Orchestra tickets.) I can not enjoy concerts in Miskolc anyomre.

I heard Pictures at an Exhibition in December in Miskolc. I heard it a couple of times (MÁV Symphony, Hungarian State Opera, Vienna Symphony Orchestra). I did not enjoyed it from the very first notes.

I attended a Beethoven concert at the Liszt Academy: Hungarian Radio Symphonic Orchestra played Mass in C, Symphony No. 3. I enjoyed it despite I'm not a fan. The choir was great. They will perform Bartók's Kossuth (Symphonic Poem)/Pelléas and Mélisande excerpt from Act 3/A Hero's Life in March.


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## Guest

I went to a performance by the pianist Stephen Hough last night. He played works by Debussy, Robert Schumann, Chopin and Beethoven. A fantastic evening. He's a tremendous pianist, able to do the tender (Chopin) and the furious (Beethoven) equally well.


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## Judith

dogen said:


> I went to a performance by the pianist Stephen Hough last night. He played works by Debussy, Robert Schumann, Chopin and Beethoven. A fantastic evening. He's a tremendous pianist, able to do the tender (Chopin) and the furious (Beethoven) equally well.


Seen him live twice. He was amazing. Met him at one of them and he was really nice


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## newyorkconversation

perempe said:


> I made a mistake by buying a season ticket for 9 performances to Budapest Festival Orchestra.


Sounds like a pretty great mistake, though! ; )


----------



## eugeneonagain

Concert this afternoon. Netherlands Symphony Orchestra with soloist Lukáš Vondráček (recent winner of the International Queen Elisabeth Piano Competition 2016). Conductor was Mark Wigglesworth.

The programme was Prokofiev's 3rd piano concerto. Bookended by Glinka's overture from _Ruslan and Ludmilla_ (a very Rossini-style overture) and Stravinsky's _Petruschka_ to finish.

The concerto was magnificent. Standing ovation for the pianist who came back to play a work by (I assume) Vítězslav Novák and was practically assailed by coughing; as if they were a cough-orchestra hired to play alongside. It was atrocious.

After the intermission a somewhat beefed-up orchestra played a magnificent Petruschka (1911 version).


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## Balthazar

I attended a concert of chamber music with the students at the University of Michigan's School of Music.

Exceptional.

*Shostakovich ~ Piano Trio no. 2 in C minor, Op. 8

Saint-Saëns ~ Sonata for Violin and Piano No. 1 in D minor, Op. 75

Smetana ~ Piano Trio in G minor, Op. 15*


----------



## newyorkconversation

Danish String Quartet
Alice Tully Hall, Lincoln Center, New York
February 25, 2018
"The Thrill of the Hunt"

Haydn - String Quartet in B Flat Major, Op.1 No.1 ("La Chasse")
Mozart - String Quartet No.17 in B Flat Major, K.458 ("Hunt")
Widmann - Jagdquartett for Strings
Brahms - String Quartet No.3 in B Flat Major, Op.67

Terrific program and a lot of fun. The audience was greatly surprised by the Widmann piece. Lovely work by the Danes - I was particularly struck by the lower voices. They encored with a tune from their recent CD of Nordic folk songs in a lovely and lively "pop"-like arrangement (a video version is here: 



).

Still thinking about the slow movement from that very first-ever Haydn quartet (or at least one of the first ever)!


----------



## Guest

I heard the Takács Quartet with pianist Marc-Andre Hamelin this weekend. Not too surprising--it was superb!

Webern: "Langsammer Satz" for String Quartet
Dohnanyi: Piano Quintet No. 1 
Beethoven: String Quartet in C# minor, Op. 131.


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## newyorkconversation

Kontrapunctus said:


> I heard the Takács Quartet with pianist Marc-Andre Hamelin this weekend. Not too surprising--it was superb!
> 
> Webern: "Langsammer Satz" for String Quartet
> Dohnanyi: Piano Quintet No. 1
> Beethoven: String Quartet in C# minor, Op. 131.


Was that with their new violinist? I saw a note on Facebook that Károly Schranz is retiring


----------



## Guest

newyorkconversation said:


> Was that with their new violinist? I saw a note on Facebook that Károly Schranz is retiring


No, Schranz was playing. I think this is his last tour.


----------



## TurnaboutVox

Two recitals last night at the RNCM, Manchester. I went with some trepidation as I've recently suffered some hearing problems in one ear and the sounds coming into that ear are, for the time being, horribly distorted. But I was meeting my son to attend the second recital and to buy us beer and food, so I went...

*
In Flanders*
Performed by RNCM and Paris Conservatoire students 
A selection of British and French song, with readings of letters between Royal Manchester College of Music piano tutors Frank Merrick, who was imprisoned as a conscientious objector, and his wife Hope Squire.
Songs by Hahn, Bridge, William Browne, Hope Squire, Debussy, Andre Caplet, Ivor Gurney, Butterworth, Satie, Lili and Nadia Boulanger.

French texts sung by RNCM soloists, and English texts sung by French soloists. All were performed to a very high standard, as I have come to expect of this annual festival.

Cecile Madelin, soprano
Lucy Vallis, mezzo
Kaelig Boche, tenor
Edward Robinson, baritone
Ran Feng, Celia Oneto-Bensaid, Aymeric Loriaux, Alexey Pudinov, piano.

~~~~~~~~~~~~~~~~~

*
Quatuor Voce* (Sarah Dayan, Cecile Roubin (violins); Guillaume Becker, viola; Lydia Shelley, cello)
(*with Nicky Spence, tenor; Jeremy Young, piano)

Claude Debussy - String Quartet in G minor Op 10
Benjamin Britten - Three Divertimenti (1933)
Henri Dutilleux - Ainsi la nuit
Ralph Vaughan Williams - On Wenlock Edge*

The Quatuor Voce are a finely integrated ensemble with a smooth, gentle sound and excellent intonation.


----------



## newyorkconversation

Miró Quartet
Cho-Liang Lin, Kristin Lee, Gary Hoffman, Mark Holloway 
"23rd of January, 1825"
Alice Tully Hall, Lincoln Center
March 18, 2018

Haydn - String Quartet No.56 in E Flat Major (Op.71, No.3)
Spohr - Double Quartet No.1 in D Minor
Beethoven - String Quintet in C Major (Op.29)

The second in a series of four concerts replicating programs presented by Ignatz Schuppanzigh in Vienna in the early 1800s. 

The Mirós gave an energetic performance of the Haydn, punctuated by a broken string which led to a funny story and a restart of the second movement. They are a quartet which is unafraid to play with some personality, which helped to bring out Haydn's humor.

The Spohr was the first double quartet I've ever seen - two quartets arranged side-by-side (the Mirós swapped cellists with the other group, in which Kristin Lee played first violin). Very fun to see, but ultimately I found this got almost jumbled in some passages. Lee was terrific however.

The Beethoven was an unmitigated triumph to my ears. Lin was first violin and was superb. Gary Hoffman was just about perfect - I only wish Beethoven had a few higher cello parts for him in this piece. Holloway and guest John Largess (of the Mirós) were a fantastic viola section - Holloway with some absolutely lovely lines. Very, very high levels of musicianship.

Fascinating to think that a Viennese audience heard the same exact program nearly 200 years ago.


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## Judith

Yesterday evening
Leeds Town Hall

City of Leeds Youth Orchestra
Conducted by Dougie Scarfe

Britten Symphonic Suite Gloriana
Puccini Fantasy on themes from La Boheme
Holst The Planets

The whole performance was amazing. Lovely to support knowing that they will be tomorrows musicians


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## Radames

Lots and LOTS since I posted here last. I saw Ken-David Masur conduct the Portland Symphony in Dvorak's 6th. Think he will be the next music director. I liked the guy who conducted before that though - Eckart Preu. He did Zeminsky's Mermaid. I heard a piece by Copland that I didn't know existed - his film music to The City in Glens Falls. Along with the rarely heard 3rd Symphony of Ives. Staatskapelle Weimar in Troy was quite good. National Symphony Orchestra of Cuba wasn't as good but I liked that they played some Cuban music.


----------



## Guest

I heard pianist/composer Lera Auerbach last night in San Francisco. The first half consisted of "Pictures at an Exhibition," and aside from Richter or Horowitz, I have never heard such an intense yet magical performance of it. (She did embellish a few parts, but not to the degree that Horowitz did.) The second half consisted of the world premiere of her own piece,"Labyrinth," a 50 minute hellishly difficult piece. It was inspired by "Pictures" as well as Jorge Luis Borges' _The Book of Imaginary Beings_, and of course, labyrinths. Stylistically, I heard echoes of Mussorgsky, Scriabin, Prokofiev (particularly the cadenza from the Piano Concerto No.2), Sorabji, and maybe a little Elliott Carter, but all absorbed into her own voice. It was a lot to take in (she warned us in her prefatory remarks from the stage that it would not be a "safe and secure" journey, and it wasn't!). I'd love to hear it again, though, and I hope she records it. She treated us to four encores: a Scriabin Prelude, a repeat of the "Ballet of Unhatched Chicks" from Pictures, and two Scarlatti Sonatas. Although she played them wonderfully, I think he should have let her piece stand alone.


----------



## Gordontrek

I saw a screening of the film _E.T. The Extraterrestrial_ with live orchestral accompaniment for the soundtrack. It was really magical, and I hope orchestras start doing that sort of thing more often. It really added a new dimension to both the film and the music that I never experienced watching films on a television or at a theater.


----------



## bharbeke

Gordontrek said:


> I saw a screening of the film _E.T. The Extraterrestrial_ with live orchestral accompaniment for the soundtrack. It was really magical, and I hope orchestras start doing that sort of thing more often. It really added a new dimension to both the film and the music that I never experienced watching films on a television or at a theater.


Our Phoenix Symphony is doing this with the Harry Potter films (2 a year) and Star Wars: A New Hope next season.


----------



## Judith

Yesterday evening went to see

Endellion String Quartet

Performing

Haydn
String Quartet in B Flat major no 4 (sunrise) opus 76

Tippett
String Quartet no 2 in F sharp

Beethoven
String Quartet in E minor no 2 (Razumovsky

Second time I have seen this wonderful Quartet live and they gave a wonderful performance.


----------



## gHeadphone

Ill be in London next Wednesday and trying to decide between 
Dudamel and the Los Angeles Phil playing


Salonen, New Work (European premiere)
Varèse, Amériques
Shostakovich, Symphony no. 5 in D minor, Op.47

or Ann Sophie Mutter and the London Phil playing


Panufnik, Heroic Overture
Penderecki, Violin Concerto no. 2 "Metamorphoses"
Prokofiev, Symphony no. 5 in B flat major, Op.100

Ive never seen either, so what to do.......


----------



## Templeton

gHeadphone said:


> Ill be in London next Wednesday and trying to decide between
> Dudamel and the Los Angeles Phil playing
> 
> 
> Salonen, New Work (European premiere)
> Varèse, Amériques
> Shostakovich, Symphony no. 5 in D minor, Op.47
> 
> or Ann Sophie Mutter and the London Phil playing
> 
> 
> Panufnik, Heroic Overture
> Penderecki, Violin Concerto no. 2 "Metamorphoses"
> Prokofiev, Symphony no. 5 in B flat major, Op.100
> 
> Ive never seen either, so what to do.......


I prefer the London Philharmonic programme overall but how often are you going to have the opportunity to see and hear a great orchestra like the LA Philharmonic live, so I would definitely go with the latter. It's still a pretty good programme, in any case.


----------



## gHeadphone

Thanks Templeton

I'm still trying to decide, it is a tough call.

Btw i just realised i'm listening to Prokofiev 5th right now #unconsciousbias


----------



## Mal

Aramis said:


> Haydn Symphony B-dur


Which one? There are many!


----------



## Mal

newyorkconversation said:


> Danish String Quartet
> Alice Tully Hall, Lincoln Center, New York
> February 25, 2018
> "The Thrill of the Hunt"
> 
> Haydn - String Quartet in B Flat Major, Op.1 No.1 ("La Chasse")


Good to see them playing a low opus number, people need to know Haydn was good from the get go! Too many bad critics, since Victorian times, have poo-pooed his early string quartets. I was also amazed by the slow movement when I heard the Kodaly quartet play Op.1 No.1 (Naxos CD.)


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## Judith

Yesterday evening went to see local orchestra
Sinfonia of Leeds conducted by Anthony Kraus

They did a wonderful performance of 

Dvorak Carnival Overture
Sibelius The Swan of Tuonela
Janacek arr Mackerass Suite from The Cunning Little Vixen
Sibelius Symphony no 5


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## laurie

Ahh!!!! I am sooo excited right now! I just found out about ~ & immediately bought tickets for ~ the bassist Edgar Meyers (love him!) playing with the Oregon Symphony ... among other things, the program includes Copland's _Appalachian Spring_, AND William Grant Still's _Afro-American_ _ Symphony_ ~ a couple of my _very_ favorite things!! . Now all I have to do is wait patiently ~ until_ Jan 2019!!_ :lol:


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## Joe B

laurie said:


> ahh!!!! I am sooo excited right now! I just found out about ~ & immediately bought tickets for ~ the bassist edgar meyers (love him!) playing with the oregon symphony ... Among other things, the program includes copland's _appalachian spring_, and william grant still's _afro-american_ _ symphony_ ~ a couple of my _very_ favorite things!! . Now all i have to do is wait patiently ~ until_ jan 2019!!_ :lol:


*nice....very nice indeed!*


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## perempe

four concerts last week:
László Fassang's organ concert in Zugló Evangelical Church (with Bach's Prelude & Fugue in E Minor, impressive organ)
concert at Liszt Academy with 3 string quartets (Dvořák's String Quartet No. 12, Grieg's String Quartet No. 1, Shostakovich's String Quartet No. 8)
Magyar Vonóstrió in Aranytíz (featuring a guest bassoonist)
Budapest Festival Orchestra's last concert of the season (Mahler's Sympnony No. 2 with Christiane Karg, Elisabeth Kulman & Czech Philharmonic Choir of Brno)

yesterday's Pelléas et Mélisande in Miskolc (they shocked me as they performed excerpts only)
the first three concerts were free.


----------



## laurie

Joe B said:


> *nice....very nice indeed!*


I know, right!?! I literally squealed out loud when I saw it, & scared my dog :lol: If you didn't live across the country, I would invite you to be my concert date* ~ mr. laurie just doesn't understand or appreciate how amazing this will be for me!! I wish it were just a_ bit_ sooner ~ argh!

*edit to add .... of course mrs. joeB could come, too; we would talk about books!


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## betterthanfine

I'm seeing Veronique Gens in recital tonight. Can't wait, I love her voice.


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## Judith

Last Saturday at Leeds Town Hall

Dresden Philharmonic
Michael Sanderling
Soloist Jennifer Pike

Performing
Weber Overture Euryanthe
Tchaikovsky Violin Concerto
Beethoven Symphony no 5

Wasn't the best concert I had been to. 
The overture wasn't too bad and the violin concerto was performed well even though she wasn't Joshua, but when it came to Beethoven, noticed in the first movement that some of the notes were stopped abruptly and in the quieter parts of the symphony, was so quiet that it couldn't be heard. 

Be interested to know if anyone else has come across this orchestra and conductor


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## senza sordino

Last night I went to see Peter Grimes by Benjamin Britten. Our local professional orchestra performed it, the opera was not staged, no costumes or acting, just singing and playing. Instead the soloists sang standing in front of the orchestra and the orchestra choir / chorus sat behind the orchestra and sang. The performance was fantastic, I thoroughly enjoyed it. 

It was fantastic to watch the orchestra perform an opera. And because the orchestra was on stage, they had a huge compliment of players. The sound quality of the orchestra was great because they were on stage with the singers. It was so thrilling to see this. I'm not a big opera fan, I don't go to many operas. But Peter Grimes is terrific, and I love the Four Sea Interludes. 

It was long, a few seconds less than three hours including the intermission. The audience was sparse, it wasn't well attended, which is a shame. It's a lot cheaper to put on an opera like this - no staging or acting. The soloists read from the score. So there is less preparation time for them. This could be a way for us to see some operas that are never staged here on the west coast, such as Wagner, or some 20th Century operas. 

This was Bramwell Tovey's penultimate concert, it'll be sad to see him go, as he's been here 18 years. Next week is Mahler 2, which I will also attend. 

Two thumbs up, this was a concert I'll remember for a long time. I can't get over how good the orchestra and singers sounded. I've seen operas before but the orchestra is stuck down in the pit, the sound is fine, but last night was outstanding.


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## Gordontrek

I conducted in a concert last night- a local summer band and orchestra program that went very well. I did a piece with both band and orchestra. For band, Maslanka's Mother Earth Fanfare. For orchestra, Sibelius's Finlandia. The latter was a dream come true; I have loved that piece since I was a little kid. I think I like this conducting thing.


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## perempe

I saw Danubia Orchestra Óbuda 3 times in 2 weeks. I became a fan of Tchaikovsky's Serenade for Strings and Grieg's Holberg suite in the first concert, I've heard those pieces at least three times since. The second concert's program was familiar to me (Chopin's piano concerto in E minor/Bartók's Hungarian sketches/Kodály's Háry János suite). The last one was the most difficult as it was a John Williams concert, lasted only an hour. all concerts were free.

There will be a free concert in December in Liszt Academy with Tchaikovsky's Serenade for Strings, it's a must for me!


----------



## TurnaboutVox

*Ribble Valley International Piano Week 2018*
(Organised by Blackburn International Musical Festival)
Westholme School, Blackburn, Lancashire, UK

Friday 20th July, 7.30pm - *Pavel Kolesnikov, piano*

Helmut Lachenmann - Schattentanz (Shadow Dance) from 'Ein Kinderspiel'

Debussy - Dr. Gradus ad Parnassum; Jimbo's Lullaby - from 'Children's Corner Suite, L113

Lachenmann - Akiko from 'Ein Kinderspiel'

Debussy - Serenade for the Doll from 'Children's Corner Suite'

Chopin
Mazurka in C# min, Op. 30, No. 4
Étude in F min, Op. 25, No. 2

Debussy - The Snow is Dancing from 'Children's Corner Suite'

Liszt - La Campanella

Lachenmann - Schattentanz (Shadow Dance) from 'Ein Kinderspiel' (i.e. ,this was repeated)

Debussy - The Little Shepherd from 'Children's Corner Suite'

J.S. Bach - Prelude in C# from Book II of the "Well Tempered Clavier"

Debussy - Golliwog's Cakewalk from 'Children's Corner Suite'

Lachenmann - Filter-Schaukel (Filter-Swing) from 'Ein Kinderspiel'

Debussy - Feux d'artifice, No. 12 from Préludes Book 2

~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Couperin - Tombeau de M. Blancrocher from 'Bauyn Manuscript'

Robert Schumann - Fantasie in C, Op. 17

The first half of Pavel Kolesnikov's programme worked particularly well. The RVIPW is just starting to feature music dating from the 20th century - even Debussy is quite adventurous in this context - but I have seen nothing as daring as Lachenmann being programmed here before in more than a decade of attending. A really interesting recital, and played with real 'fire'. It was fairly well attended too, the age profile being markedly lower than usual for the RVIPW.


----------



## SixFootScowl

Going tonight at Kirk in the Hills.

Detroit Symphony Orchestra
Michelle Merrill, conductor
Sarah Shafer, soprano

BRITTEN Simple Symphony for String Orchestra
BRITTEN Les Illuminations
MOZART "L'amerò, sarò costante" from Il Rè Pastore
MENDELSSOHN Symphony No. 1

EDIT: Concert was great! Mendelssohn was wonderful. The other works don't do much for me. The soprano did not impress me. Voice seemed to have a lot of vibrato, which I did not care for.


----------



## Radames

Summer is past the halfway point now. I did major concert going in July - 26 concerts/operas/ballets. I found yet ANOTHER summer festival to attend - Lake Placid has a sinfonetta. They play Sunday nights. I skipped Tanglewood Sunday to check it out because their program had much more rare repertoire :
Copland - Old American Songs: "Bought Me a Cat" "Simple Gifts" At the River" 
Aaron Copland - John Henry
William Grant Still - Serenade for Orchestra
William Grant Still - Mother and Child, for String Orchestra
Duke Ellington, arr. M. Gould - Solitutde
Adolphus Hailstork - Sonata di Chiesa


----------



## Radames

Lake Placid has a Sinfonetta again on Sunday. I never knew there were arrangements of Mahler for small orchestra. They did the mini Mahler 4th. It didn't sound bad. Apparently there's an arrangement with no french horn. I don't think that would be any good. They used the horn in this one. They also had Sa Chen play Rachmaninoff's 2nd concerto. It made a great double header with the Mahler 3rd that I heard by the Francophonie Orchestra up in Montreal in the afternoon. Mahler 3 then Mahler 4. 

Saturday I had 3 concerts at Tangelwood - choral concert at 2:30 - free! Boulanger, Bernstein, Copland, and Vaughn Williams. At 6 pm they did the Schubert Octet and at 8 pm it was Bernstein's Songfest and Sibelius 2nd. 

Friday was Holst Planets at SPAC with the fab Philadelphians. With NASA images.


----------



## starthrower

I saw Candide last night, and I'm getting tickets for Petrushka/Schumann piano concerto, and Prokofiev violin concerto/Nielsen symphony no.4. And possibly the Emerson String Quartet. All here in Syracuse.


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## SixFootScowl

Got tickets for this December to see the following:

Joyce DiDonato with Yannick Nézet-Séguin, piano.

Handel's Messiah, which tickets I painfully bought because this year they have a countertenor. I tried Detroit Symphony Orchestra but they don't do Messiah annually. Is it wrong to wish the countertenor be unable to make the concert and be substituted by a female alto?


----------



## Radames

Mahler's 3rd at Tangewood last night. Bernstein 100 bash tonight.


----------



## Templeton

Two very special concerts at The Proms, in London, on 1st and 2nd September 2018.

Berlin Philharmonic Orchestra, conductor Kirill Petrenko. Pianist: Yuja Wang

*Paul Dukas*
La Péri

*Sergei Prokofiev*
Piano Concerto No 3 in C major

*Franz Schmidt*
Symphony No 4 in C major

and

*Richard Strauss*
Don Juan
Death and Transfiguration

*Ludwig van Beethoven*
Symphony No 7 in A major

Kirill Petrenko's first Proms appearance with the Berlin Philharmonic was always going to attract a lot of attention, so he was clearly under some pressure to perform.

Prior to the concerts, I had read some sniffy reviews about his programme choices but from the opening blasts of Dukas's gorgeous and rarely performed ballet suite, La Péri, it was clear that those critics would be eating their words. One could have heard a pin drop during the entire twenty minutes, so engrossing and detailed was the performance. Petrenko was a very expressive, although never over the top conductor, clearly completely engrossed in the music, whilst still conveying direction to the orchestra, which was perfect. A stunning performance.

Yuja Wang's performance of Prokofiev's piano concerto was technically brilliant and completely engrossed my sixteen year old daughter, who had accompanied me. Petrenko and the Berliners seemed happy to play second fiddle to her performance, whilst providing the highest levels of professional accompaniment that one would expect of an orchestra of its standing. She also performed two encores, Rachmaninov's Prelude in E flat minor and Volodos's elaboration of Mozart's "Rondò alla Turca".

The first evening culminated with, what was for me, the highlight of the two evenings, the magnificent and heart wrenchingly beautiful Franz Schmidt's Fourth Symphony. From the opening trumpet solo to the heartbreaking solo cellist conclusion, this was music of the very highest quality. The symphony was written as a memorial to Schmidt's deceased daughter and the poignancy of this was not lost on me, as I sat there with my daughter by my side. I also recalled a poster on 'Talk Classical' who wrote previously of how he had played this piece following the death of his son and how touched I had been, at reading this.

The orchestra played the entire symphony (around 45 minutes), without a break between movements, making it a seamless experience. I also read that the members of the orchestra had never previously played the piece, so their achievement in performing what, to my ears, was the perfect performance was all the more extraordinary.

It seemed to me that Petrenko has brought a more lush and romantic, although never cloying sound to the Berlin Philharmonic, which I loved. During the performance, I thought how much his style and interpretations reminded me of Carlos Kleiber, which can only be a good thing in my book.

All in all, one of the great performances that will live long in the memories of those who attended, I am sure.

My expectations for the second night were always going to struggle to exceed those of the first and so it turned out to be or so I thought, at the time!

The performances of the two Strauss tone poems were as excellent as one could have hoped for, very precise, superbly played and conducted. Neither work is a favourite of mine, yet the performances brought them to life in ways that recordings had not previously achieved for me, which is often the beauty of live performances, I find.

The conclusion of the evening, a performance of what is probably my favourite piece of music, was full of surprises, not all of them welcomed.

To start off, I was very surprised to see that Petrenko had pared down the size of the orchestra for what I have always considered to be a large orchestral work.

With the opening of the first movement, my worst fears seemed to be confirmed, as the sound seemed underpowered and somewhat muffled. Things improved from the second movement and by the final movement, the performance had become a true tour de force, culminating in an orgy of ecstasy.

I have subsequently realised, however, upon listening to a recording on Radio 3 that my impressions within the Royal Albert Hall probably had far more to do with my seating and the general acoustics than any fault on the part of Petrenko and the BPO. It is as if I attended two different performances of the same work.

Whilst the BPO deserved the standing ovation that it received on the second night, in my opinion they deserved it more on the first night for what was an emotionally overwhelming experience.

Based upon what I saw and heard, Berliners are destined for true greatness over the coming decade(s).

As an addendum, the reviews from the British press have been universally superlative, as was the one review in the French press that I saw.


----------



## Radames

Templeton said:


> Two very special concerts at The Proms, in London, on 1st and 2nd September 2018.
> 
> Berlin Philharmonic Orchestra, conductor Kirill Petrenko. Pianist: Yuja Wang
> 
> *Paul Dukas*
> La Péri
> 
> *Sergei Prokofiev*
> Piano Concerto No 3 in C major
> 
> *Franz Schmidt*
> Symphony No 4 in C major


Wish I could have been at this one. That Dukas piece should be heard more often - MUCH more than Sorcerer's Apprentice. Schmidt is never heard in concert anywhere near me either.

Summer is officially OVER. I ended it with some classical spree concerts in Montreal. They have done them in previous years but I have never gone because they were at the same time as the Philadelphia Orchestra in Saratoga. 45 minute concerts - I did 7 in 2 days. Highlights: Tchaikovsky 1st Piano Concerto. Mozart 27th Piano Concerto with Alexei Volodin. Verdi and Wagner Choral music. Dances of Galanta by Kodaly was great to hear. John Anthony Lennon's Electric Candlelight Concerto was the only thing I was not really into. I got a free ticket to that though.

Summer total: 49 concerts in 2 months.


----------



## Taggart

*Norwich Baroque with Rachel Podger 15 September 2018*

We saw Rachel Podger with Norwich Baroque in 2015 and were impressed by the performance. We were looking forward to this concert and were not disappointed. Rachel Podger has just been awarded Gramophone's Artist of the Year for 2018 and showed why she deserved that accolade.

The concert started with Norwich Baroque playing Handel's Concerto Grosso Op6 No. 7. This was a pleasant introduction. The piece covers a range from a complex chromatic slow movement to a rousing hornpipe.

Rachel Podger then joined them for Bach's Concerto in A major after BWV1055. Unlike Bach's other harpsichord concertos, BWV 1055 has no known precursors, either as an instrumental concerto or as a movement with obbligato organ in a cantata. It has generally been accepted that it is a reworking of a lost instrumental concerto, since Donald Francis Tovey first made the suggestion in 1935, when he proposed the oboe d'amore as the melody instrument. This was a delightful realisation for violin and Rachel Podger inspired Norwich Baroque to new heights.

The first half finished with Concerto No. 3 in F major, Op. 8, RV 293 by Vivaldi (_L'autunno_ (Autumn) from _Le quattro stagioni)_ (The Four Seasons)). This featured Matthew Wadsworth on Baroque Guitar and Kate Bennet-Wadsworth on cello to fine effect. The duelling between the cello and Rachel Podger was a delight to watch and to hear. She has an impish delight in the music and the cello and the whole orchestra responded to that.

The second half opened with Locatelli's Concerto Op.1 No. 3 played by Norwich Baroque. The work displays imaginative textures and offers the opportunity for exciting virtuosity which they displayed.

Next, Rachel Podger played (from the pulpit) some movements from Bach's second cello suite transposed from D minor to A minor. This was a delight from the sombre prelude through the stately allemande to the sarabande retracing the solemnity of the prelude and finishing with a driving 3/8 gigue. An excellent performance greeted with rapturous applause.

Norwich Baroque returned with Vivaldi's Concerto RV 156 in G minor. Because there is no solo line, this allowed them to show their strengths as they dealt with the the brilliant Allegros with the violins sometimes in unison sometimes in conflict but always with Vivaldi's characteristic rhythmic ingenuity, melodic invention and theatricality.

Rachel Podger joined them for the finale - Geminiani's Concerto Grosso in D minor, H.143 (_La Folia_) taken from _12 Concerti Grossi after Corelli's Violin Sonatas_ of 1729(?). This was a delightful piece with a strong role for the cello of Kate Bennet-Wadsworth and Matthew Wadsworth on theorbo. The Folia is a well known genre and this set of variations provided us with some delightfully sprinted playing from Ms Podger, some sections where the theme was taken up in parts and in canon and a delightful interplay between violin and cello. A rousing finish to a great evening.


----------



## Judith

Wonderful concert yesterday evening in York
Steven Isserlis and friends performing

Brahms Scherzo. FAE
Schumann Slow movement of violin concerto ( arr himself)
Faure String Quartet
Messiaen Vocalise for Cello and Piano
Beethoven Cello Sonata in A Major
Encore Schumann 4th sketch for Pedal Piano

The other musicians were
Anthony Marwood
Irene Rival
Violin

Elvind Ringstad Viola
Ian Brown Piano

Such a lovely evening


----------



## Gordontrek

A bunch of amazing works last night:

Bernstein- Slava! A political overture
Gershwin- Piano Concerto in F w/Gilles Vonsattel
Stravinsky- Symphony in Three Movements
Bernstein- Symphonic Dances from West Side Story

Loved every minute of it.


----------



## Roger Knox

Templeton said:


> Two very special concerts at The Proms, in London, on 1st and 2nd September 2018.
> Berlin Philharmonic Orchestra, conductor Kirill Petrenko. Pianist: Yuja Wang
> 
> *Paul Dukas*
> La Péri
> *Sergei Prokofiev*
> Piano Concerto No 3 in C major
> *Franz Schmidt*
> Symphony No 4 in C major


Recently listened on BBC to the Franz Schmidt 4th Symphony with the Berlin Phil/Kirill Petrenko, at the London Proms, Sept. 1. It's at the BBC website under BBC I-Radio, Proms 66 and is up for around 8 more days. Highly recommended!


----------



## senza sordino

Last night I went to our opening night of our local professional orchestra. We have a new conductor, Otto Tausk. He has some big shoes to fill. Bramwell Tovey was very popular and here 18 years. Tovey was on the radio, visited schools, did lots of outreach. He was a part of the community. But now it's Tausk's turn leading the helm. 

The first piece was a new commission: Helix by Edward Top. It was okay, quite easy to listen to, nothing weird. But also nothing special. Mr Top introduced his piece, speaking to us. A simple theme repeated at different speeds by different members of the orchestra. 

The second piece was Poulenc Concerto for Two Pianos. Soloists were the Jussen Brothers from Holland. Their images can be seen here on the current listening thread. This is a fun piece and they certainly entertained us. The piece was well played and well received by the audience. They gave an encore. Not sure what they played for the encore, a duet. Parts of it sounded like Mozart 40th, and then ended as a kind of boogie woogie cutting contest. Quite enjoyable 

After intermission the orchestra played the complete Firebird by Stravinsky. This was so good. The orchestra sound great, truly a fantastic orchestra that probably don't get full recognition out here on the fringes of the know world. And Otto Tausk really does a magical job, they really sounded great last night. 

There weren't a lot of people there, more than half full, but less than three quarters full. I've seen the hall much more full than this. I wonder if people just didn't buy tickets because Bramwell Tovey isn't here. I waited some time before renewing last spring, I was skeptical. Maybe others just stayed away all together. 

Indeed, Otto Tausk has some big shoes to fill, but last night, he went a long way to proving himself. It was a really impressive debut concert for our new leader.


----------



## Kollwitz

Esa-Pekka Salonen and the Philharmonia at Festival Hall on Sunday.

Prelude and Liebestod from Tristan and Isolde, Schoenberg's Verklarte Nacht and Bruckner 7.

The Prelude was sombre and the Liebestod transcendent. I'm not at all familiar with Verklarte Nacht but found it beautiful and captivating.

The Bruckner 7 was a really interesting and compelling performance. A really flowing first movement followed by a relatively fleet but intense adagio. The scherzo had real bite and drive. The final movement is often my least favourite in this symphony, it doesn't seem to do justice to what's gone before. Salonen pushed it hard and it was utterly gripping. More intense and gripping than many performances, but also joyful.

The performance is being broadcast on Radio 3 tonight, I'm looking forward to listening again.


----------



## Judas Priest Fan

I´m, not much of a writer, but I want to try and put my feelings into words what I experienced tonight.

This was my 2nd Classical Concert, and what a concert it was!

Die Glocke in Bremen, Germany is only about 45 minutes away from where I live, so, that´s nice!

It was a concert of an International Youth Orchester, playing :

Liszt´s Prometheus

Ufos First, a composition from Clemens Rynkowski for Theremin (which he played) and Orchestra

The Planets from Holst

This time we had seats front row center. It turns out, that was a very wise choice !!! ( for my taste).

The sound was FANTASIC!! I could hear every single instrument very clearly, and, although it wasn´t as loud as a Rock concert, it was plenty loud! I didn´t bring my SPL meter, but I would guess peaks of 100-105 dbA.

Those horns and drums had POWER! Really amazing what a 105 piece orchestra sounds like from up close!

It turns out, I have been listening to classical music too quietly. But seriously, that would be a little too loud for me on an everyday basis. But it sure sounded good 

It was really moving to see all these young people, playing so passionately. I actually got a bit choked up when they played Jupiter.

For an encore they played a piece that I wasn´t familiar with, and they ROCKED the house! All 105 members stood up half way through the piece, played the rest of it, and just plain kicked ***! They got a standing ovation and I was screaming my head off, just like at a Metal show  Others were, too.

No one around me knew what piece they played, but I was able to catch a young violinist before she left the stage and asked her what it was. She showed me her sheet music so I could take a picture of it 

It was Danzon No. 2 from Arturo Marquez. An amazing piece!

My Heavy Metal buddy, with whom I have attended many shows, was really impressed by his first classical concert. He wants to see more! Me too 

Anyway, it was a fantasic evening, the tickets only cost €15 and the young people played perfectly, with lots of enthusiasm.

I can´t wait for my next live Symphony  Since I really enjoyed the sonic impact of being up front, we´re going to try for balcony seats near the front next time.


----------



## Merl

Judas Priest Fan said:


> I can´t wait for my next live Symphony  Since I really enjoyed the sonic impact of being up front, we´re going to try for balcony seats near the front next time.


Nice review, mate. My first classical concerts were when i was younger (late teens)but i had to go on my own cos my mates were only into metal (i loved metal and orchestral music). Good that your mate loved it too. There's room in yer life for metal and classical music. Keep enjoying both. Btw, i first saw Judas Priest on the Killing Machine tour back in 1979, at Manchester Apollo. Great gig. Only a few weeks later i was at the Free Trade Hall in Manchester listening to a performance of Holst"s Planets by the Halle Orchestra.


----------



## Judas Priest Fan

I still love my Rock and Metal, but at 53, and over 30 years of construction, I just can´t take the volume that Metal requires for long any more.

I discovered Classical music about 2 years ago, and it makes up 99% of my listening now


----------



## Merl

Judas Priest Fan said:


> I still love my Rock and Metal, but at 53, and over 30 years of construction, I just can´t take the volume that Metal requires for long any more.
> 
> I discovered Classical music about 2 years ago, and it makes up 99% of my listening now


53. Same age as me!


----------



## senza sordino

Judas Priest Fan said:


> For an encore they played a piece that I wasn´t familiar with, and they ROCKED the house! All 105 members stood up half way through the piece, played the rest of it, and just plain kicked ***! They got a standing ovation and I was screaming my head off, just like at a Metal show  Others were, too.
> 
> No one around me knew what piece they played, but I was able to catch a young violinist before she left the stage and asked her what it was. She showed me her sheet music so I could take a picture of it
> 
> It was Danzon No. 2 from Arturo Marquez. An amazing piece!
> 
> My Heavy Metal buddy, with whom I have attended many shows, was really impressed by his first classical concert. He wants to see more! Me too
> 
> Anyway, it was a fantasic evening, the tickets only cost €15 and the young people played perfectly, with lots of enthusiasm.
> 
> I can´t wait for my next live Symphony  Since I really enjoyed the sonic impact of being up front, we´re going to try for balcony seats near the front next time.


I'll be 53 next month, born 1965 in swinging London.

Anyway.....Judas Priest Fan. I have a question. The orchestra played Marquez Danzon no 2 as an encore? That's amazing. You don't normally hear of orchestras playing an entire piece as an encore. We had the chance to play this piece last summer, we rehearsed for a week. Yes, it's a fantastic piece, such great rhythms to learn. And so much fun to play. I was at the back of the second violins.

If you think a classical music concert can get loud, try being inside the orchestra. I have some hearing loss at high frequency in my left ear, and I'm only an amateur, not a full time professional. I practice with an ear plug, though I don't like rehearsing with the full orchestra with the ear plug as I can't hear myself well enough to ensure I play in tune. Though I do put it in when I sit near the business end of the piccolo, a hazard of being at the back of the second violins.

Glad you enjoyed the concert


----------



## Eramire156

*"In it the whole of nature finds a voice."*

Last night at the CSO

*Gustav Mahler
Symphony no. 3

Andrés Orozco-Estrada conductor
Kelley O'Connor mezzo-soprano

Chicago Symphony Orchestra 
Women of the Chicago Symphony Chorus 
Anima Young Singers of Greater Chicago*


----------



## Vox Gabrieli

I nearly did a backflip when I saw CSO because I thought it was Charlotte Symphony!


----------



## Judas Priest Fan

Seems like there are lots of 53 year olds here 

I have heard that it is very loud to play in an orchestra, and that classical musicians even suffer from hearing loss more often than rock musicians! 

I really enjoyed the concert and will be attending more in the future, and I really like the front row

My next show will probably be Dmitry Berlinsky with the Russian Chamber Orchestra playing Paganini. The tickets are €70, which is a lot of money to me, but I don´t think many chances arise to hear Paganini played live; and I LOVE his music


----------



## philoctetes

A zinger on Saturday night with Heras-Casado conducting the SFS, all Debussy and Ravel. Heras-Casado is the best touring conductor I've seen in a long time, this is my second time, the first was Dvorak, he's the real deal, go hear him. He has many CDs on Harmonia Mundi as well but I haven't heard any yet.


----------



## Dorsetmike

For Baroque fans, L'Arpeggiata are at Wigmore Hall London next Wednesday Oct 31

https://www.bandsintown.com/e/1010038763


----------



## Judith

Yesterday evening at Leeds Town Hall
Vienna Tonkunstler Orchestra
Soloist. Angela Hewitt
Conductor Yutaka Sado

Sibelius Finlandia
Beethoven Piano Concerto no 5 (Emperor)
Sibelius Symphony no 5

Lovely concert performed by all. 
In interval Angela was signing autographs. She was really nice


----------



## newyorkconversation

Have any other TC-ers been enjoying Jaap Van Zweden's inaugural performances as new Music Director of the NY Philharmonic? 

For those who don't know, the Phil, while an excellent orchestra, play in a substandard space acoustically -- David Geffen Hall lacks reverb and tends to sound dull. Allan Gilbert, who was previously MD, favored a fairly subtle approach, which didn't help. A superb ensemble could sound unexciting all too often.

After seeing performances on each of his first three weekends I would say Van Zweden has made loudness a virtue and is bringing nearly a heavy metal approach. The Phil's brass in that hall has never sounded so loud. He is conducting with power as if to make a statement. 

As if to demonstrate this the opening weekend featured the Rite of Spring, and he encored with Ride of the Valkyries. The second weekend offered Bruckner's 8th (more loud horns!). Finally by the third weekend Jaap offered more gentle textures in Debussy's La Mer, but with a Stravinsky concerto on the program and still delivered in a very energetic style. 

Each of the concerts began with world premieres of commissioned pieces, which I enjoyed in order of presentation: Ashley Faure's piece was extremely avant-garde and theatrical (bassoon soloist on a raised platform mid-audience, chorus with vocal horns spread through the balconies, and marching to the stage, etc -- an awesome way to begin Jaap's directorship), Conrad Tao's was dissonant and textural, Louis Andriessen's was not really my cup of tea. 

It's very entertaining, I think. The musicians seem to be enjoying themselves as well. There have been some critics suggesting it's all a little over the top but personally I'm having a great time - can't wait to see him take on Shostakovich at the end of the month.


----------



## TurnaboutVox

Bridgewater Hall, Manchester
Friday 21 September 2018
International Concert Series

Programme:
*
Schubert - Winterreise, D.911*
Ian Bostridge, tenor & Julius Drake, piano

A belated posting. Bostridge and Drake were undoubtedly impressive, giving that insouciant air of 'pfft, this is something we perform every other day" but it was spoilt for me by having become almost completely deaf in my 'good' ear thanks to a cold and a blocked eustachian tube. Oh well, I'll go and hear them perform 'Winterreise' the next time they come to my region.


----------



## philoctetes

Atos Trio in Occidental CA last night... Rachmaninov, Arensky, Webrick, Shostakovich. Very muscular performance. Program was new to me except the Shostakovich. Lots of melodies in the Rach and Arensky.


----------



## Eramire156

Yesterday's afternoon concert at Chicago's Symphony Center, the visiting Czech Philharmonic

*Antonin Dvorak 
Cello Concerto 
Symphony no. 9*

*Alisa Weilerstein- cello

Semyon Bychkov 
Czech Philharmonic *

We were also graced with two orchestral encores after the ninth.


----------



## Eramire156

Last night Chicago Symphony concert

*GiuseppeVerdi
Messa da Requiem *









*
Vittoria Yeo soprano
Daniela Barcellona mezzo-soprano
Piotr Beczala tenor
Dmitry Belosselskiy bass

Riccardo Muti
Chicago Symphony Orchestra 
Chicago Symphony Chorus *

A very good concert just short of great, preferred the men soloists to the women, for me season highlight so far, remains the Mahler 3rd.


----------



## Judith

Yesterday evening, went to a wonderful recital in Harrogate performed by Stephen Hough. 

Bach ( trans Busoni) Chaconne in D Minor
His own piano sonata no 4 ( Vida Breve)
Chopin Piano Sonata in B flat minor op 35
Chamber Fantasy on Carmen Busoni
Liszt Funerailles
Mephisto Waltz
Mephisto waltz no 1

Met him afterwards (for second time as met him at a previous recital)as he was signing autographs. He's really nice


----------



## Haydn man

RLPO
Petrenko

Brahms PC No.1 
Brahms Symphony No.4

Superb


----------



## DavidA

Just attended English Touring Opera's performance of Bach's St Matthew Passion. Brilliant evenng.


----------



## newyorkconversation

Schumann Quartet
Wu Qian
Nikolay Borchev

Chamber Music Society of Lincoln Center
Alice Tully Hall, Lincoln Center, New York
November 18, 2018


Rachmaninoff - String Quartet No. 1 (unfinished) - Schumann Quartet
Mussorgsky - Songs and Dances of Death ("Pesni i plyaski smerti") - Qian, Borchev
Schubert - "Der Tod und das Mädchen," Op. 7, No. 3 - D 531 - Qian, Borchev
Schubert - String Quartet No. 14 ("Death and the Maiden") - D 810 - Schumann Quartet

Interesting to hear the original Lied before the Death and the Maiden quartet. The theme for the quartet's second movement is just a few bars from the piano introduction to the song -- humble beginnings for something that ends up beautifully expanded on in the quartet's five variations (the theme sounds to me like the inspiration for Chopin's funeral march, although I guess maybe they both drew from Beethoven's 12th sonata? or likely from some traditional funeral tune).

Good performance by the young Schumann quartet. The Schubert calls for much passionate ensemble playing, at which the quartet excelled. All the members save the violist are brothers. I wonder whether a family quartet has closer harmony in some way, similar to a vocal group. I did find a few notes to be less than convincing in the first violin part at various times -- underarticulated, too reticent, sometimes with what seemed the wrong timbre. But I'd go see this quartet again.

I didn't care much for the Mussorgsky material, although I appreciate the programming idea of pairing songs about death (and still close to Halloween!), and Borchev seemed excellent. I wish Qian had more to do in this performance - she shone in a live broadcast of Mozart's first Piano Quartet with three of the Schumanns during the week. 

Top programming as usual from CMS.


----------



## Judith

Wonderful performance yesterday evening at Leeds town Hall. 

Royal Liverpool Philharmonic Orchestra

Tchaikovsky. Francesca da Rimini
Korngold Violin Concerto
Mussorgsky Pictures at an Exhibition

Soloist. Elena Urioste
Conductor. Vasily Petrenko


----------



## TurnaboutVox

Huddersfield Contemporary Music Festival 2018
University of Huddersfield, West Yorkshire, UK
Sunday 25th November

(James Dillon - String Quartet No. 8)
(Salvatore Sciarrino - Quartetto No. 7)
*Clara Iannotta - dead wasps in a jam-jar
Sciarrino - Cosa Resta*
Dillon - String Quartet No. 9*
*
Arditti Quartet; *with Jake Arditti, counter-tenor*

This is the fourth time I've heard the sublime Arditti Quartet play. They are not to be missed in the contemporary repertoire in which they specialise (and lead). Iannotta's work is primarily concerned with 'sound as an experience', to be seen and felt as well as heard, and the piece performed here, hardly ever more than sotto-voce, seemed to me an exercise in sound texture, interference patterns between notes struck on the instruments etc., although the composer describes it as an investigation of a sort of 'deep sea environment with constant pressure, constant movement and stillness in time' It's very intricate music which would bear repeated listening. The standout work for me was the Sciarrino 'Cosa Resta' in which the quartet accompanied a sort of half-sung (mostly) counter-tenor recitative - which was spellbinding. Dillon's new quartet was also an interesting work, and he joined the quartet on stage for the applause afterwards.

It is very hard to take in several completely unfamiliar works at a single recital but the quartet are so precise and polished, and such masters of contemporary chamber music that their recitals are always a special event.

The first two works in the programme are in brackets because we missed them, courtesy of an appalling mess-up of our transport arrangements by our regional rail services - despite building in an extra hour and a half's travel time to anticipate just such an eventuality. You wouldn't believe how bad public transport has got in a supposedly first world country - those resident in the UK and particularly those who regularly travel in the area between the Trent and Hadrian's Wall will know EXACTLY which company I'm talking about here...  The HCMF staff were good enough to let us in to the recital hall in the short break between pieces.

*
Karl-Heinz Stockhausen
Sei Weider Frohlich (from 'Amour')* (1974-6)
*POLES* (1970)
*Camilla Hoitenga* (flutes); *Taavi Kerikmae *(1970 modular synthesizer, theremin); *Francisco Colosanto* (sound diffusion)

This was great fun (and very good music making). My one complaint was that it was so short (the works were 2 and 38 minutes long respectively) that it left us eager for more.

I confess that I did come to think of POLES as a sonata for Flutes, Mad Professor and IT Technician, particularly because of Mr Kerikmae's slightly eccentric dancing with his theremin and his frantic rewiring of the synthesizer's box of tricks (think miniature 1930s telephone exchange) as he played. Very entertaining, as I said, but musically very satisfying too.


----------



## perempe

attended 2 concerts in Liszt Academy: on Monday the Budapest Philharmonic Society Orchestra performed, they played an Erkel overture (Hunyadi László), the Kraft cello concerto (Várdai), Liszt's Hungarian Rhapsody No. 2, Dances of Galánta & Pictures at an Exhibition. they played really well, but the tuba solo in Bydlo wasn't flawless.

on Tuesday the Hungarian RSO performed (Weber's Oberon overture, Schumann's Cello Concerto, Brahms' Symphony No. 2). this time 70-year-old Perényi was the soloist. I enjoyed this concert even more.


----------



## perempe

Perényi's encore was the prelude from Suite No. 3 in C, BWV 1009.


----------



## newyorkconversation

Britten - Violin Concerto
Shostakovich - Symphony No. 7 ("Leningrad")

New York Philharmonic Orchestra
Jaap Van Zweden
Simone Lamsma

David Geffen Hall, Lincoln Center, New York City
Thursday, November 30, 2018

I've called this season a "heavy metal" approach and the Shostakovich - full of percussion and finishing with massive brass - was right in line. Excellent performance, orchestra playing with power and energy. Van Zweden is by no means one-dimensional, but there is no doubt he is drawn to the dramatic!

Lamsma's debut with the NYPO (I take it she has collaborated with Van Zweden in the past). She attacked the Britten with verve and was warmly received. I have no doubt we will see her back next season, probably to perform some other 20th century piece. She gave an encore of a movement from a Hindemith Sonata for Solo Violin.

Small cavil that the program notes talked all about the history of the symphony (which is admittedly fascinating), but said next to nothing about the music itself; I like a little analysis with my criticism.


----------



## SixFootScowl

Just got back from Handel's Messiah half an hour ago.

Yulia Van Doren, soprano
John Holiday, countertenor
Miles Mykkanen, tenor
Alex Rosen, bass

Of the soloists, the bass was fantastic. All were good, but I did not care for the tenor's voice. The soprano has some vibrato that was bothersome to me. And surprise, the countertenor actually was quite good (I still will avoid them though), but always kept me wishing for a female voice because it would be just that much better (to me).


----------



## TurnaboutVox

Bridgewater Hall, Manchester, UK
1st December 2018
*
Handel 
Messiah*
Hallé Orchestra; John Butt (conductor); Hallé Choir
Soloists:
Mary Bevan, soprano; Jess Dandy contralto; Stuart Jackson, tenor; Lukas Jakobski, bass 

This is the sort of music that Mrs Vox, our Manchester-based son and I can enjoy equally and this concert was in fact her choice of outing.

All of the performers were very good, though Jess Dandy's rich contralto and Lukas Jakobski's imposing bass stood out as particularly secure and impressive for me.

This was followed by excellent food and an exceedingly good evening was had by all of the party.


----------



## SixFootScowl

TurnaboutVox said:


> Bridgewater Hall, Manchester, UK
> 1st December 2018
> *
> Handel
> Messiah*
> Hallé Orchestra; John Butt (conductor); Hallé Choir
> Soloists:
> Mary Bevan, soprano; Jess Dandy contralto; Stuart Jackson, tenor; Lukas Jakobski, bass
> 
> This is the sort of music that Mrs Vox, our Manchester-based son and I can enjoy equally and this concert was in fact her choice of outing.
> 
> All of the performers were very good, though Jess Dandy's rich contralto and Lukas Jakobski's imposing bass stood out as particularly secure and impressive for me.
> 
> This was followed by excellent food and an exceedingly good evening was had by all of the party.


John Butt would be with the Dunedin Consort? I have their Messiah recording, the Dublin version, quite nice. Now I wish I had attened your Messiah with that contralto and all, but then again, John Holiday was an interesting experience.


----------



## senza sordino

Last night I attended a very enjoyable concert by our local professional orchestra.

Gabrieli 
Gubaidulina 
Tchaikovsky 

Giovanni Gabrieli Sacrae symphoniae: Sonata plan'e forte and Canzon duodecimi toni 
This was performed by ten brass players, five on each side. Very enjoyable and nice to hear some early music. 

Sofia Gubaidulina, Offertorium soloist Baiba Skride. This was amazing to see. I've heard it before, but to see it live was a real treat. I'm not sure most of the audience liked it, but certainly a few of us did. Her playing is terrific, so clear in her articulation. Fiendishly difficult in places she played it with clarity and projection. Discordant double stops, lots of artificial harmonics, sul ponticello, on the bridge. Fantastic to see and hear this. And great that my local orchestra is branching out into other more modern repertoire. I hope they do this more often in the years ahead. It does get boring seeing the same old war horses in the brochure year after year. But that's what most people want, I think. 

Tchaikovsky Sixth Symphony. Back to war horse repertoire for the second half. But this is my favourite symphony of his. This performance was enjoyable too. Of course, the audience started clapping after the third movement and the conductor still has his hands up in the air ready to begin the fourth movement. That breaks the flow of the music. Oh well. I usually forgive the audience for clapping between movements but that one was a bit annoying. 



I saw three people there I know in real life, we had some nice chats. Three different conversations at three different times. I often see people I know at these concerts, it's a small world. The classical world is a small world, it's not hard to bump into people I know.


----------



## LezLee

My friend and I had a very enjoyable evening in Linlithgow (near Edinburgh) at a concert by the excellent Ruisi String Quartet. A very mixed programme:

Purcell - Three Fantasias
Bartók - Quartet No.2 Op.17
Beethoven - Quartet in E minor Op.59 No. 2

Thanks to some of you here on TC, I’ve started listening to Bartók’s SQs and it was really good to experience a live performance by this excellent quartet.The Beethoven too was a real joy.

Mulled wine and mince pies were served in the interval. Unfortunately I don’t like either!


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## Eramire156

*Страви́нский Прокофьев Чайковский*

Last night at Symphony Center Michael Tilson-Thomas conducted the Chicago Symphony Orchestra in an all Russian program, in the Prokofiev Nicola Benedetti was the soloists, a great concert, the Stravinsky is an odd piece.









*Stravinsky Concerto in D for String Orchestra
Prokofiev Violin Concerto No. 2
Tchaikovsky Symphony No. 6 (Pathétique)*


----------



## perempe

Rutter's Magnificat was the main piece of Eötvös Loránd University's christmas concert today. the professional choir was really, really great. they sounded very homogenous with very good dynamics. the soprano sang from the balcony. the orchestra was bigger than I expected (5 cellos & 4 double basses) in a relatively small hall. I've heard the piece before but it was fantastic live, one of the best concerts ever.


----------



## SixFootScowl

Today I attended Schubert's Winterreise. Great concert.
Joyce DiDonato, mezzo-soprano
Yannick Nézet-Séguin, piano
Hill Auditorium, Ann Arbor, Michigan


----------



## Judas Priest Fan

I saw Die Paganini Nacht last night in Die Glocke in Bremen, Germany. Here´s a youtube trailer : 




We had first row center seats because I wanted to see how the violinist made those sounds come from a violin 

I was just FLOORED!

I saw every move of the solist´s fingers and I still can not fathom how a human can posess such skill in playing an instrument.

I am at a loss for words. Amazing, just AMAZING!!!!!

The Paganini pieces were unbelieveable, and all the other pieces were just plain beautiful; hauntingly, heavenly beautiful.

As an encore they played a piece where a flute had a major role; I would love to have that in my collection, but have no idea what it was 

Then the soloist played one of Paganini´s caprices; I don´t know which one, but again, amazing!

On a side note, my wife bought me a new T shirt for the occasion; "I´ll Be Bach"   

I don´t know why the pictures are upside down or sideways. The originals are not. Strange???


----------



## newyorkconversation

Beethoven - Piano Concerto No. 2
Rachmaninoff - Symphony No. 2 

New York Philharmonic Orchestra
Jaap Van Zweden
Yefim Bronfman

David Geffen Hall, Lincoln Center, New York City
January 19, 2018

Wonderful ensemble effort in the Rachmaninoff, drawing an immediate ovation. Beautiful strings, of course, together with eloquent and delicate solos by several section leaders, of whom Anthony McGill on clarinet was outstanding to me -- if his phrasing isn't perfect I cannot imagine what is.

Having served as the inspiration for so much film music, it's hard not to hear this piece as "filmic" to some extent, but the performance was balanced, not syrupy, with surprising muscularity and dynamism in the second movement, tying this to the through-line of Van Zweden's program this season. 

Bronfman was of course well up to the task of the early -- very classical -- Beethoven piece, which was presented with polish and precision. 

I will say that I didn't see any particular rationale for the pairing of the two pieces on the same program -- not that they clashed in any way, but neither did they amplify or illuminate in any particular way through juxtaposition, the rollicking Rondo of the Beethoven's finale tending to overshadow the lyrical (perhaps proto-Romantic) Adagio of the third movement in one's memory.


----------



## Paulinlondon

Hello there everyone,

A charity I volunteer for called CLEFT has organised a fundraising concert this Sunday (27th January) to raise money to improve and support treatment for children born with cleft lip and palate. It will take place at the Art Workers Guild near Russell Square in London. Giles Francis (violin) and Marije Vijselaar (harp) will be performing a selection of pieces as a duet, including;

*Sonata in C by Antonio Vivaldi, 
Fantaisie by Camille Saint Saens,
Entr'acte by Jacques Ibert 
and Granada by Isaac Albéniz. *

Tickets can be bought in exchange for donation to the charity, and are available here where you will also find more information about the event and what the charity does.

Doors open at 2pm. 
We would love to see you there! 
Thank you so much.


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## Eramire156

*Last Night @ Symphony Center*

*Daniel Harding and the Royal Concertgebouw Orchestra









Johannes Brahms
Symphony no. 4

Richard Strauss
Ein Heldenleben*

The Brahms was glorious, I have never been a big fan of Strauss tone poems, Harding and the RCO made a strong case for my ears.


----------



## Haydn man

Wednesday 20th February in London
Mahler 9
Vienna Philharmonic 
Adam Fischer

Taken at a reasonable pace, certainly not slow and beautifully played
A joy for me and my wife to listen for the first time to the VPO, a wonderful evening overall


----------



## Captainnumber36

Do live performances tend to be really contained and quieter? I saw the Eroica tonight and found it very unexciting, and mechanical.


----------



## Haydn man

I would say the opposite, as I find live performances much more dynamic sonically compared to home listening.
However the quality of the performance and its effect on enjoyment is entirely another matter


----------



## Highwayman

Last week I attended Brahms Piano Concerti by Rudolf Buchbinder with BIPO under the baton of Sascha Goetzel. Brahms Symphonies 2&4 were also in the program. I have attended several concerts of Goetzel`s BIPO in the past years and they have never disappointed me yet. But I wasn`t sure what to expect from Buchbinder because I`ve never heard anything by him except 
his Beethoven. Although I regard his Beethoven very highly I wasn`t sure if he could overcome a relatively harder repertoire in a relatively advanced age. But I may say with an easy conscience that he really nailed it! 

1st movement of the D minor one was a little bit soulless for my taste but his accuracy&clarity was remarkable. He produced a beautiful tone in the slow movement and was brilliant in the Rondo. But the B-flat was something else... First 2 movements gave me goosebumps, slow movement was celestial, the last movement was like a bacchanale and he was shockingly accurate all the time. I might place him third after Serkin and Gilels on this one. The symphonies were also quite satisfying. Goetzel is one of those conductors that you cannot blink while he is conducting. He is very passionate and his control over the orchestra is very strong.

The best thing is that I only gave something like 40 USD for the two events. I practically stole those tickets considering the good performance and the absurdly overpriced market here in Turkey. :tiphat:


----------



## Captainnumber36

Haydn man said:


> I would say the opposite, as I find live performances much more dynamic sonically compared to home listening.
> However the quality of the performance and its effect on enjoyment is entirely another matter


I think it might have been my company more than anything else looking back, and my seat wasn't great being that a column was blocking my view. ($14, obstructed viewing, seat).


----------



## Don Fatale

Captainnumber36 said:


> I think it might have been my company more than anything else looking back, and my seat wasn't great being that a column was blocking my view. ($14, obstructed viewing, seat).


My sympathies. I don't do well with distractions and discomfort when I'm trying to give my attention to a performance.


----------



## Judith

Wonderful concert in nearby Huddersfield at their beautiful Town Hall.

Orchestra of Opera North
Boris Giltburg
Conductor Antony Hermus

Performing 

Lyadov Kikimora 
Tchaikovsky Piano Concerto No 1
Encore Prokofiev Diabolical Suggestion
Prokofiev Symphony No 5

Boris was signing autographs so bought his Liszt CD which had 

Paraphrase de concert sur Rigoletti
12 Études d'execution transcendante
3 Études de concert
No 3 La leggeirezza

Had the CD autographed along with the programme (I'm greedy when it comes to autographs lol)
He was very nice to talk to.


----------



## Boychev

Went to a performance of Brahms' Concerto for violin with Ellinor D'Melon as soloist and Beethoven's Symphony No. 5 with Jan Latham-Koenig conducting. Loved the soloist, didn't like the performances as a whole at all. For some reason most of it sounded way too subdued and flat and restrained. I think the point was to make you feel the weight of the final movements of the pieces more powerfully in contrast, but the first movements felt tired and boring. He managed to make the first movement of the symphony lumber heavily and the second movement was simply lifeless. I was disappointed.


----------



## newyorkconversation

Vienna Philharmonic Orchestra
Ádám Fisher - conductor
Leonidas Kavakos - violin
Carnegie Hall, New York City
March 3, 2019

Haydn - Symphony No. 97

Mozart - Violin Concerto No. 5 ("Turkish") 
encore: Bach - Gavotte en Rondeau from Violin Partita No. 3 

Mozart - Symphony No. 41 ("Jupiter")
encore: Mozart - Cassation for Orchestra in G Major
2nd encore: Mozart - Overture to The Marriage of Figaro

The VPO really plays as an ensemble, with very smooth balance between sections. I was particularly impressed by Konzertmeister Rainer Honeck's lively work. Great Sunday afternoon.


----------



## Don Fatale

Saw a program of Tchaikovsky's Violin Concerto and 4th Symphony this week in Budapest, given by the Hungarian Radio Orchestra. The Liszt Music Academy is an intimate and cozy concert hall, and hearing Tchaikovsky like this is thrilling. We came out feeling energised and uplifted.

No doubt it's been covered before. I mentioned to my friend, who hadn't see the concerto live before, that I wondered whether there would be applause after the first movement. And there sure was, without any hesitation. I like that there are conventions applied to some works. It just feels so right in the case of the Tchaikovsky piece.


----------



## Judith

newyorkconversation said:


> Vienna Philharmonic Orchestra
> Ádám Fisher - conductor
> Leonidas Kavakos - violin
> Carnegie Hall, New York City
> March 3, 2019
> 
> Haydn - Symphony No. 97
> 
> Mozart - Violin Concerto No. 5 ("Turkish")
> encore: Bach - Gavotte en Rondeau from Violin Partita No. 3
> 
> Mozart - Symphony No. 41 ("Jupiter")
> encore: Mozart - Cassation for Orchestra in G Major
> 2nd encore: Mozart - Overture to The Marriage of Figaro
> 
> The VPO really plays as an ensemble, with very smooth balance between sections. I was particularly impressed by Konzertmeister Rainer Honeck's lively work. Great Sunday afternoon.


I would love to have gone to that one. One if my Twitter friends is a violinist in this orchestra


----------



## NLAdriaan

Just went to the Concertgebouw orchestra playing Mahler 7 with Jaap van Zweden instead of Daniele Gatti. Would have preferred to hear Gatti's reading of this wonderful piece. In 2011 I heard Boulez and in 2016 Jansons conducting this symphony with this orchestra. To me, this is the greatest Mahler band out there.

Anyhow, nothing beats a live concert:clap:


----------



## Faramundo

Amadigi by Haendel, last night in Compiegne, very cheap (video on walls) production but the (all female) singers were excellent, and the orchesta was very talented.









Amadigi Opéra en trois actes (1715)
De Georg Friedrich Haendel

Direction artistique et musicale Jérôme Correas
Mise en scène et scénographie Bernard Levy

Avec
Oriana, Amel Brahim-Djelloul, soprano
Melissa, Aurélia Legay, soprano
Amadigi, Sophie Pondjiclis, mezzo-soprano
Dardano, Séraphine Cotrez, contralto
Les Paladins 21 instrumentistes,
dirigés par Jérôme Correas


----------



## Highwayman

On Wednesday I attended Gülsin Onay`s piano recital at Albert Long Hall, Bogazici University. Wonderful concert, terrible audience...
And at one point, the concert was interrupted by the rehearsal of University`s Jazz Choir next door which was very embarrassing and distracting.

Programme:

Bach - Keyboard Partita no. 1
Mendelssohn - Variations sérieuses
Chopin - Ballade no. 2

Saygun - Inci`s Book, op. 10
Schubert/Liszt - Auf dem Wasser zu singen
Beethoven - Piano Sonata no. 26 "Les Adieux"

Encore: Bach/Busoni - Chorale Prelude _Nun freut euch, lieben Christen g'mein_, BWV 734a

I can easily place Onay as the 2nd best Turkish pianist after Biret before Sermet. This recital strengthened my general opinion on her. Everything except than Chopin was great (which was a little bit undramatic for my taste) but Bach and Saygun were exceptionally marvellous. She performed with great technique and agility which was not a surprise for me but she produced very sweet mild tones now and then (with the help of the Steiny I assume) which astonished me.


----------



## bharbeke

Last night, my wife and I attended a concert at the Phoenix Symphony.

Music heard:

Beethoven: Piano Concerto No. 1 (Stephen Hough, pianist)
Strauss: Ein Heldenleben

Hough and the orchestra were fantastic on the concerto. After intermission, conductor Tito Munoz explained the background, themes, and instrumentation of the Strauss piece, including some pre-performance snippets by the orchestra to demonstrate what we would hear later. This made the music much more meaningful to us, and the tubas saying "Doctor Dehring" became hilarious every time. The concertmaster played the solo violin parts, and he was amazing on them.


----------



## philoctetes

Hodges, Koh and Kartunnen with a program of Jolas, Saariaho, and concluding with a Lindberg trio which immensely revives my interest in the composer who I followed closely in the mid 90s.


----------



## Judith

Went to a wonderful one last weekend
Oslo Philharmonic
Soloist Nikolai Lugansky
Vasily Petrenko

Tchaikovsky Romeo & Juliet
Grieg Piano Concerto
Rachmaninov Symphony no 1

Encores. Rachmaninov Etudes tableaux ( not sure which one)
Elgar Chanson de Matin

Third time have seen Petrenko live, twice with RLPO and one with Oslo. Live or recorded has never let me down


----------



## perempe

yesterday I went to a free concert to the Solti Hall of Liszt Academy because I missed Ibert's flute concerto about a year ago in Miskolc. After the interval I did not return as I managed to take a good seat in Grand Hall. (I asked some people before it. both intervals started about the same time.) Danubia Orchestra Óbuda performed Vivaldi's Fours Seasons with soloists Antal Zalai.







Cosima Soulez-Lariviére, who played Gubaidulina's Offertorium in the first part, came back for an encore (a movement from Bach's Double Concerto BWV 1403).


----------



## senza sordino

Not a concert, but a masterclass. I wasn't performing. I watched.

Henning Kraggerud, violinist, was conducting a masterclass with three young music students. This was really interesting to watch and listen. Three students each performed one piece. And then for 30 minutes per student Henning talked and played with the student as they worked on certain aspects of their piece.

All solo Bach
Violin Sonata no 2 Andante 
Violin Sonata no 3 Largo
Cello Suite no 1 Prelude

With each student he would pull apart each piece. He'd play the bass line while the student played the top line. Then switch. He even had the student improvise while he played the bass line. He really tried hard to get the student to move away from just the mechanics of the notes, to feel the music with all their senses. He even had one student move and dance while playing. 

Very interesting to watch.


----------



## TurnaboutVox

Royal Northern College of Music, Manchester, UK
*Chamber Music Festival 2019
"Joseph Haydn - Innovation and Inspiration"*

Saturday 16th March
*
Trio Wanderer*
Joseph Haydn
Piano Trio in A major Hob XV:18
Piano Trio in F sharp minor Hob XV:26
Piano Trio in E flat minor Hob XV:31
Ludwig van Beethoven
Piano Trio in B flat major Op 97 'Archduke'*
Jean-Marc Phillips-Varjabédian, violin; Raphaël Pidoux, cello; Vincent Coq, piano*

Sunday 17th March
*
Heath Quartet*
Joseph Haydn
String Quartet in D major Op 20 No 4
String Quartet in C major Op 74 No 1
Ludwig van Beethoven
String Quartet in E flat major Op 127*
Oliver Heath, Sara Wolstenholme, violins; Gary Pomeroy, viola; Chris Murray, cello*

The Heath Quartet were quite excellent. Their Haydn was lucid and precise so that all the instruments' lines could easily be followed, even by my old ears, and their love for the music shone through in abundance. Unusually, the violin and viola players in this quartet stand up to play, and they literally danced with their instruments at times (the cellist was on a raised dais so that he was nearer the standing musicians' eye level) and there was a lot of eye-contact between the musicians.

Beethoven's Op.127 was magnificent and moving in their hands. On this showing, they should certainly consider recording their performances of both composers.

We didn't feel so sure of the Trio Wanderer's recital, especially the Haydn trios. There seemed to be something rather pedestrian about those performances. The 'Archduke' trio came off much better, but this seemed a rather heavy and old-fashioned account even so. My son thought that the violin was often slightly out of tune, which I must say I didn't detect, but his ears are much younger and better than mine.


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## SixFootScowl

I am getting excited about the upcoming operas I have tickets to.

Handel's Alcina. Saturday, March 30, 2019 8:00PM
Lydia Mendelssohn Theatre
University of Michigan School of Music, Theatre and Dance
Ann Arbor, Michigan

Hansel & Gretel April 6 - April 14, 2019 
Michigan Opera Theatre, Detroit Michgian


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## Captainnumber36

I just bought a ticket to see Beethoven's 2nd Symphony Sat. the 30th at Cincinnati Music Hall! I'm very excited, and won't have bad company to distract me this time, .


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## perempe

my Hungarian RSO concert with Britten's The Company of Heaven and Haydn's Heiligmesse was canceled yesterday in Vigadó due to an old WW2 bomb found in a building site in Vörösmarty Square.


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## Guest

Pianist Nikolay Khozyainov yesterday in San Francisco. I doubt that the piano will ever be the same after the all-guns-blazing assault! Actually, the Debussy and Chopin had exquisite moments of poetry and tenderness. He just took no prisoners in the Stravinsky and his second encore:

DEBUSSY Suite Bergamasque
STRAVINSKY Three Movements from Petrushka
STRAVINSKY/KHOZYAINOV "Danse Sacrale" from Rite of Spring

-intermission-

CHOPIN Berceuse
CHOPIN Sonata No. 3 in B minor 

Encores:
Chopin Nocturne in C#minor
Khozyainov: Fantasy on a Theme From Star Wars (Darth vader's theme)

I seriously doubt that Horowitz or Cziffra in their prime could have approached the jaw-dropping display of intensity and virtuosity in his own piece. It was overwhelming.


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## Captainnumber36

Captainnumber36 said:


> I just bought a ticket to see Beethoven's 2nd Symphony Sat. the 30th at Cincinnati Music Hall! I'm very excited, and won't have bad company to distract me this time, .


It was a great time! I loved it.


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## Captainnumber36

Fritz Kobus said:


> I am getting excited about the upcoming operas I have tickets to.
> 
> Handel's Alcina. Saturday, March 30, 2019 8:00PM
> Lydia Mendelssohn Theatre
> University of Michigan School of Music, Theatre and Dance
> Ann Arbor, Michigan
> 
> Hansel & Gretel April 6 - April 14, 2019
> Michigan Opera Theatre, Detroit Michgian


How was your first one?


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## SixFootScowl

Captainnumber36 said:


> How was your first one?


Guess I posted it in the wrong spot. *Here is my post on the Alcina performance*.


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## Judith

Had a "double whammy" last weekend.

Saturday evening went to see local orchestra "Sinfonia of Leeds".

They performed 

Stravinsky
Symphonies of Wind Instruments

Part
Tabula Rasa

Brahms 
Symphony No 4

Soloists 
David Greed and Andrew Long

Conductor
Anthony Kraus

Lovely concert that was something a bit different and one of the best interpretations I have heard of the Brahms. They performed it just how I like it with the right tempo and texture.


Sunday afternoon saw "Leeds Haydn Players"

Performing

Rossini
Overture to Il Signor Bruschino 

Haydn
Symphony no 44 in E Minor

Rossini
Introduction, theme and variations for clarinet and orchestra

Schubert 
Symphony no 3 in D Major

Soloist
Benjamin Palmer

Conductor
Christopher Pelly

The Rossini Overture was unusual as the orchestra stamped their feet, but I do have a recording where it sounds like maracas. In saying that, when watching on U Tube, they tapped their instruments so I am wondering what did Rossini intend!!


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## perempe

yesterday a string quartet gave a free concert in Müpa (Beethoven's SQ op. 18, No. 4, Mozart's SQ K. 387 & Divertimento K. 251), after it I went to Liszt Academy. there was an oboe diploma concert in Solti Hall with Silvestrini's 6 Concert Etudes for Oboe and Bach's oboe concerto BWV 1056 before interval. I went to Grand Hall to see a piano diploma concert which began 30 minutes after the other concert, I missed only the first two Chopin ballads of the four. in the 2nd part they perfomed Ravel's Sonata No. 1 for Violin and Piano and Shostakovich's Piano Concerto No. 1 with Solti Chamber Orchestra. I went for the piano concerto and they did not disappoint.


----------



## perempe

-----------------------------


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## newyorkconversation

A few weeks ago I saw the Philadelphia Orchestra under Yannick Nézet-Séguin at Carnegie Hall.

This year I have also seen the NYPO, the Vienna Philharmonic, and the Budapest Festival Orchestra.

I enjoyed the Philadelphia Orchestra more than any of them.

I need to see them again but it is possible I have found my favorite orchestra. Fantastic strings and great ensemble balance.

This review from Bachtrack does a great job of describing the concert: https://bachtrack.com/review-muhly-...ia-orchestra-nezet-seguin-lisiecki-march-2019

Nico Muhly - Liar (Suite from Marnie)
Mendelssohn - Piano Concerto No. 1
Schubert - Symphony No. 9 ("Great")


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## Captainnumber36

I just bought tickets to see Daniil Trifinov perform Beethoven's 5th Piano Concerto. This should be fun!


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## starthrower

I'm deciding whether to go see Kalichstein-Laredo-Robinson Trio this Saturday. Has anybody here seen them in concert? They're playing Schumann, Ravel, and Mendelssohn. http://www.syracusefriendsofchambermusic.org/


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## perempe

after Respigi's Vetrate di Chiesa, Jean-Efflam Bavouzet performed Ravel's concerto in Liszt Academy with Hungarian RSO. (check him on youtube!) he gave 2 encores. Verdi's Quattro pezzi sacri closed the evening. Sesto Quatrin was the conductor.


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## Judith

Yesterday evening at Leeds Town Hall
Russian Philharmonic of Novosibirsk

Performing

Rimsky Korsakov
Capriccio Espagnol

Rachmaninov
Rhapsody on a theme of Paganini

Tchaikovsky 
Symphony no 6

Soloist. Sergei Redkin
Conductor Thomas Sanderling

Loved the Tchaikovsky and the other two were performed well also


----------



## Guest

Last night, members of the Royal Northern Sinfonia, performed

_Syrinx _- Debussy
_Six Metamorphoses After Ovid: 1. Pan _- Britten
_Six Bagatelles for Wind Quintet _- Ligeti
_Wind Serenade in E Flat Major _- Strauss
_Serenade No. 10 'Gran Partita' _- Mozart

I didn't think I knew any of these, though it turned out I recognised the Debussy. Also, I misread the programme, and couldn't hear where one Metamorphosis morphed into another, nor where the Britten ended and the Ligeti began. Now I see that there was only one metamorphosis...

14 wind instruments in a small church made quite a noise!


----------



## perempe

Sneaked in for Danish Chamber Orchestra's concert on Sunday in Liszt Academy. I saw 2 harp and 1 cimbalom diploma concerts before that in Solti Hall. I took a seat in the 8th row of the Grand Hall in the after interval and at least 1 seat was also free there. They played Beethoven's 4th with Figaro overture as an encore. it was only incing on the cake as I also enjoyed Debussy's Sonata for Flute, Viola and Harp & Timofeev's Concerto for Cimbalom and Orchestra as well. (Timofeev's concerto is on YouTube, you can check it out.)


----------



## perempe

tonight I went for Zsolt Serei Composer’s Evening, but after the first piece of the 2nd part of the concert I left for the Grand Hall. I managed to take a seat in the 4th row. the Hungarian National Philharmonic Orchestra performed Stravinsky's Symphony of Psalms and Sibelius' 7th. Budapest FO also performed the first one in Müpa in February, but this time the choir was much louder. (Béla Bartók National Concert Hall in Müpa is much bigger than the Grand Hall of Liszt Academy.) András Rudolf played the viola who regularly performs free in AranyTíz as a member of Magyar Vonóstrió. Hannu Lintu was a very theatrial conductor.

On Tuesday I saw the aria exam here with young performers and the Pannon Philharmonic Orchestra.


----------



## Judith

Last weekend saw local Leeds Symphony Orchestra

Rossini Overture. Eduardo et Cristina
Borodin In the Steppes of Central Asia
Poulenc Ballet Suite. Les Biches
Shostakovich Symphony no 5


Conductor Martin Binks

Lovely performances of all works. They performed really well. I do like to support local orchestras


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## perempe

I saw 2.5 concerts on Sunday in Liszt Academy. Budapest Festival Orchestra played Hebrides overture/Schumann's CC (with Gautier Capuçon)/Tchaikovsky's 6th. Leonidas Kavakos was the conductor. this was my 3rd time I heard the concerto in the season. I upgraded my seat in the intermission, but there were some coughs near me in the 2nd part. (I was too close to the last double bass before the break as I sat on a choir seat in the first row, but it sounded quite good there as well.) it was a superb concert. after that there was a free horn diploma concert with Glière's horn concerto in the 2nd part of the concert with the Zugló Philharmonics in Solti hall. there was an intermission in the Grand hall as soon as it ended, so I took a seat and listened to the Brahms' piano quartet no. 2. Daishin Kashimoto, Amihai Grosz & Claudio Bohórquez played with Péter Nagy. it was a long day as the first concert started after 15:30 and the last one ended before 22:00 with only a 75 minute break between the first two.

today I went to Deák tér Evangelical Church to hear Bach's Mass in B. it was a good free concert.


----------



## Rania

Anyone in Switzerland/ southern Germany? It's still two weeks from now, but I'm planning to see Janin Jansen with Herbert Blomstedt and the Tonhalle Orchestra in Zurich on June 28 (Brahms violin concerto, third symphony).


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## Judith

Lovely concert yesterday evening from Endellion String Quartet at The Venue, Leeds College of Music. 

Performing 

Haydn String Quartet op 20 no 6, Bartok String Quartet op 17 no 2 and Beethoven String Quartet no 1 op 59 (Razumovsky). 

Such a lovely evening


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## Highwayman

Last night,

Alexander Kniazev, Cello
Boris Berezovsky, Piano

Performed,

R. Strauss - Cello Sonata in F major
Shostakovich - Cello Sonata in D minor
Rach - Cello Sonata in G minor

Encore: Brahms - "Muss es eine Trennung geben" from Die schöne Magelone 


Strauss Sonata has never impressed me much as a composition but the performance was of a sensitive, delicate kind and the slow movement was great. I would rank Shostakovich Sonata very highly in the genre maybe right after Brahms` ones and I suspect that the both performers also care for this work very much, it was very tense all the way through. I`m not the biggest fan of Rach`s chamber music but this Sonata is a tremendous work and I`m guessing that it is very demanding for both instruments. Performance was very majestic and the audience was very grateful with it. General observation, composers such like Rach or Tchaikovsky have been favourites amongst Turkish audience for some reason. If you are planning to perform here in Turkey, put some Rach into your programme.  Brahms transcription was not very significant perhaps but I`m always delighted to hear some Brahms...

Kniazev was very controlling and authoritative with his instrument but at the same time his touch and style were very elegant and he was able to produce sweet tones whenever he wanted to do so. I was only acquainted with Berezovsky the uber-virtuoso and frankly, I was a little bit prejudicial with Berezovsky the accompanyist. I was very impressed with his gentility and humility. He let the cello shine brightly but the piano was never dull not even for a moment. And he showed his class with Rach. Other than the interesting choice of Strauss I believe the concert was almost perfect.

P.S. Berezovsky looks awfully alike Stephen Fry from a certain distance with his posture and hairstyle... Or, maybe I should visit my ophthalmologist soon. :lol:


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## Don Fatale

Great review. I really must get to Istanbul for some opera and concerts. Is there a listing for the concerts somewhere?

I saw Boris Berezovsky in concert in Budapest April where he played three concertos and conducted them too. Then for the encore he gave us the famous romantic movement from Schumann's piano quartet. You're right, he does look rather like Stephen Fry


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## Highwayman

Don Fatale said:


> I really must get to Istanbul for some opera and concerts. Is there a listing for the concerts somewhere?


We are almost at the end of the concert season therefore this might not be the most ideal time for an Istanbul visit. But if you are interested, I can find and send you the list of the next season as soon as it is announced.


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## perempe

Cleveland Orchestra Youth Orchestra in MOM (Budapest) in a free concert. it was a big orchestra with 8 violas, 8 cellos and at least 5 double basses. they played The Chairman Dances and Bartók's Dance suite. they sounded like a professional orchestra, even the brasses were clear in the the finale of Brahms' 2nd.


----------



## Highwayman

Last Friday at Sureyya Opera Hall,

Piotr Anderszewski, Piano

Performed,

Bach - Preludes&Fugues from WTC Book II: BWV 876, 886, 887

Schumann - 7 Piano Pieces in Fughetta Form, op. 126

Beethoven - Diabelli Variations

Encore: Beethoven - Bagatelle no. 1 in G major from _6 Bagatelles_, op. 126

He looked like a brain surgeon operating on some sinuous object, penetrating with his sharp fingers into its mellow depths while he was performing on his grand instrument. I must admit that this is a Programme that might become terribly dull in the wrong hands but even though everything that he played was utterly personal and introverted, it was also uncanny and intriguing at the same time. He kept his aloof, deadpan manner even in the most humoresque moments which created a certain distance between him and the audience but it also provided him an unattainable, ubermensch kind of look as if he was a Romantic poet with extraordinary capacities. It was truly a unique experience and my only regret is that I didn`t have some sheet music with me, it would have been much more interesting that way...


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## starthrower

Should I go see David Zinman conduct Mozart and Mendelssohn, or an all Bach concert with Hilary Hahn? Both are at same venue, same price.


----------



## newyorkconversation

On Saturday I attended the String Quartet Marathon performance of the Tanglewood Music Center (at Tanglewood in Lenox, Massachusetts). 

Thirty-six young musicians arranged into nine ensembles ran through much of the core quartet canon, including selections from Schubert, Schumann, Brahms, Mendelssohn, Smetana, Dvorak and Mozart in addition to movements from Haydn's "Tost" quartets (Op. 54, 55 and 64), in two sessions of about 2 hours each. Quartet lover's heaven, with the absence of any Beethoven being the only puzzlement of the program.

For me there was one standout quartet, and in that quartet one standout performer, violinist Ji-Yeon Lee, whose first violin in Smetana's "From My Life" was beautifully fluid and assured. A first-rate musician who must have a bright future ahead of her. 

Kudos also to Lee's quartet-mates Heejung Yang (viola), Lauren Peacock (cello) and Jeeyoung Park (violin). The young violinist Francesca Bass also impressed in Mendelssohn's Quartet No. 6 -- but truly, all of the participants were at a very high level and the attendees could have very few complaints overall.

Great trip to Tanglewood and great fun.


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## Clouds Weep Snowflakes

On July 10th I attended a concert preforming Verdi's Requiem, and it was amazing!


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## perempe

Ádám Fellegi (77) played yesterday in a small church in Békásmegyer, Budapest. he played over 100 minutes without sheet.


Schumann: Fantasie in C (3rd movement)
Brahms: Four Pieces for Piano - Rhapsody in E-flat major, Op. 119 No. 4
Mendelssohn: Frühlingslied (Lied ohne Worte) Op. 62 No. 6
Rachmaninoff: Prelude in C-sharp minor, Op. 3 No. 2
Grieg: Peer Gynt - Solveig's song
Liszt: Liebesträume
Chopin: Nocturne in C-sharp minor, Op. posth.
Chopin: Scherzo for piano No. 2 in B flat minor, Op. 31
Schubert: Impromptu in G-flat major, Op. 90 No. 3
Tchaikovsky: The Seasons (June: Barcarolle, October: Autumn Song, December: Christmas)
Rubinstein: Melody Op.3, No. 1
Schumann: Kinderszenen - Träumerei, Op.15 No.7
Brahms: Six Pieces for Piano - Intermezzo in E-flat minor, Op. 118 No. 6
Debussy: Clair de lune
Chopin: Étude in E major Op. 10, No. 3
Liszt: Hungarian Rhapsody No. 12


----------



## perempe

-------------------------------------


----------



## perempe

it's on YouTube. he starts at 4:10 adter a short introduction.


----------



## perempe

The Hungarian Academy of Arts celebrated the 80th anniversary of Attila Bozay's birth and the 85th anniversary of Zsolt Durkó's birth. They're posthumous members, both passed away in the late '90s. Miskolc SO played their works yesterday in Vigadó. I'm not a fan of postmodern, but I really enjoyed it.

Durkó: Ornamenti No.1.
Bozay: Pezzo concertato No.3. Op.37. (with flutist István Matuz)
/
Durkó: Piano Concerto (Klára Körmendi)
Bozay: Pezzo sinfonico Op.13.


----------



## Joe B

I just got home from a concert at the Trinity Church on the Green in New Haven, CT. My wife and I got to see *The Choir of Trinity College, Cambridge* perform under the leadership of Stephen Layton. The concert was fabulous; the choir in top form.

The choir members positioned themselves in the front of the alter area using the stairs as a means to position themselves. We were 10 feet from the choir, left side, and 15 feet from Stephen Layton. It was really interesting watching the supple movements he made with his facial expressions and hand gestures. The choir understood it all and the 34 members reacted as one.

The final selection was Herbert Howells "Nunc Dimittis (St Paul's Service) and the choir was accompanied by an organ scholar on the church's organ......other worldly. The dynamic range of the choir and organ was incredible. The audience all jumped to their feet with a standing ovation at the conclusion.

After the concert, we went downstairs where there was a small reception for the choir. This was not announced to the public. I had contacted the church back in June when I first learned of the concert (issues involving handicap accessibility for my wife), and the lady I communicated with several times knew where we would be sitting and made the effort to introduce herself before the concert began. She invited us to join the choir downstairs after the concert. I had the opportunity to speak with Stephen Layton, who is a really sweet guy; very laid back, calm, serene. A wonderful experience we'll both remember.


----------



## joen_cph

In late August once again visited the French mountain village of Saorge, which has a rich cultural life, especially in summer. There's a festival for ancient music with free concerts too. Went to one concert with mainly Baroque chamber and vocal music in the main village church, with _Ensemble Sils Maria_, very well done. A relatively unknown, rich and expressive_ Prelude for solo cello_, by Buxtehude (maybe an arrangement; unfortunately there was no Buxtehude-number) was one of the surprises, likewise attractive solo vocal works by Schütz etc.









Another interesting concept/event was a "_Balade ou Bout du Chemin_", a sort of accompanied hiking concert in the hills above the village, along tiny paths, where musicians from the festival told an ancient fairy tale, stopping at selected points, that could be where the action took place, and played music. The 'concert-goers' included families with children and a few local dogs enjoying the buzz. The finish was at our B&B place, which served as a cafe after the concert hike. The music came from very diverse sources, but a lot came from Monteverdi's _L'Orfeo,_ also there was some folk music, even from South America, where a couple of the musicians originally came from. 
An interesting idea, that could be transferred to many different circumstances, especially in villages, towns and historical environments, of course.


----------



## Guest

joen_cph said:


> In late August once again visited the French mountain village of Saorge, which has a rich cultural life, especially in summer. There's a festival for ancient music with free concerts too. Went to one concert with mainly Baroque chamber and vocal music in the main village church, with _Ensemble Sils Maria_, very well done. A relatively unknown, rich and expressive_ Prelude for solo cello_, by Buxtehude (maybe an arrangement; unfortunately there was no Buxtehude-number) was one of the surprises, likewise attractive solo vocal works by Schütz etc.
> 
> View attachment 123752
> 
> 
> Another interesting concept/event was a "_Balade ou Bout du Chemin_", a sort of accompanied hiking concert in the hills above the village, along tiny paths, where musicians from the festival told an ancient fairy tale, stopping at selected points, that could be where the action took place, and played music. The 'concert-goers' included families with children and a few local dogs enjoying the buzz. The finish was at our B&B place, which served as a cafe after the concert hike. The music came from very diverse sources, but a lot came from Monteverdi's _L'Orfeo,_ also there was some folk music, even from South America, where a couple of the musicians originally came from.
> An interesting idea, that could be transferred to many different circumstances, especially in villages, towns and historical environments, of course.
> 
> View attachment 123753


Extraordinary settings! Thanks.


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## bharbeke

September 21, 2019
Symphony Hall, Phoenix

Program:

U.S.A. National Anthem (an opening weekend tradition)
Shostakovich: Festive Overture
Andrew Norman: SWITCH
(intermission)
Beethoven: Symphony No. 5

The anthem and overture were very well played, but there is nothing really for me to talk about regarding them.

SWITCH sounds interesting in concept, but the actual result was underwhelming. Basically, the solo percussionist is like a video game protagonist, trying to get from stage left to stage right to complete the piece. Each of the ~45 percussion instruments at the front have some effect on the orchestra's playing. I did not understand most of the cause/effect relationships going on, and the music itself was not very interesting or appealing to me. The audience gave it a standing ovation, which I attribute mostly to it being opening weekend and people recognizing how well the solo percussionist did in a challenging part. Perhaps there are more fans of this type of music out there than I know.

Instead of the conductor speaking about the music, this year, the Phoenix Symphony hired Robert Greenberg as a host at six of the concerts to introduce some of the music. He gave a very fine talk about the Beethoven symphony with demonstration from the orchestra at certain points to illustrate what themes he was talking about. The actual performance of it was great, and it got a well-deserved standing ovation.

Audience behavior frustrated me and made me consider whether attending the concerts live is a net positive. In general, there was a lot of coughing audible during quieter moments. In particular, I got a gem of a concertgoer two seats to my right. He pulled out a crinkly wrapped candy a couple times during the concert, and at the end of both parts of the show, he made his way out of the row during the applause before the house lights came back on.

To end on a positive note, one change I like in the programs this year is that most pieces have a recommended recording or two at the end of the notes about them. For the 5th, they recommended Hogwood/Academy of Ancient Music on period instruments and Giulini/LA Philharmonic on modern instruments. For as many times as I have heard the 5th, I have not heard Giulini, so I will have to check that one out.


----------



## senza sordino

Last night's concert:

Rachmaninov Isle of the Dead
Scriabin The Poem of Ecstasy: Symphony no 4
Rachmaninov Piano Concerto no 3 with soloist Daniil Trifonov

I really enjoyed this concert, especially the Scriabin. The piano concerto was played after the intermission. After Trifonov finished, there was a thunderous applause and standing ovation, people jumped to their feet immediately. It usually takes a few minutes for everyone to stand, but last night it was immediate. It was an excellent performance. There were a lot of notes. The orchestra bought a new grand piano this past summer, from Germany. Trifonov played an encore, which was quite long. I don't know what he played but it was nice, a late romantic piece. 

The concert hall was packed, almost every seat taken. This doesn't usually happen, and it was nice to see it so full. For some reason and no one around seemed to know why, the concert started 15 minutes late. 

A nice evening.


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## perempe

check this for Trifonov's encore.

there was a fantastic free concert in Matthias Church on Sunday: Purcell Choir & Orfeo Orchestra performed Vivaldi's Kyrie, Gloria and Conti's Misssa Sancti Pauli. György Vashegyi was the conductor. this was my first time to hear a theorbo live.

yesterday I went to Miskolc to hear the orchestras and choirs of the Béla Bartók Secondary School and the Béla Bartók Music Institute. (Béla Bartók Music Institute is a faculty of the University of Miskolc. they share the same building, the Zenepalota, the Palace of Music.) the university's female choir was great, the brass ensemble was good. they performed renaissance music pieces on period instruments. they also performed Vivaldi's Gloria. this was a free concert to celebrate the international music day.


----------



## Eramire156

*Back home after a trip to NYC*

Thursday night attended the New York Philharmonic concert

Sibelius; Violin Concerto 
Berlioz; Symphonie fantastique

Augustin Hadelich Violin

Jaap van Zweden
New York Philharmonic

After the Sibelius, Hadelich played a violin transcription of a piece by Francisco Tárrega, which was amazing, a great concert.


----------



## Judith

Last weekend at Leeds Town Hall

Moscow Philharmonic Orchestra
Yuri Simonov
Soloist. Alexandra Dariescu

Performing 
Tchaikovsky. Marche Slav
Rachmaninov. Piano Concerto no 2
Tchaikovsky. Excerpts from Swan Lake
Khachaturian. Excerpts from Gayeneh

Wonderful concert from all


----------



## Bluecrab

We had the good fortune to see a remarkable string ensemble called Sphinx Virtuosi yesterday. They're an 18-member ensemble (8 violins, 4 violas, 4 cellos, and 2 contrabasses) of african-american and latino musicians. Here's the program:

Alberto Romero - _Fuga con pajarillo_

Bela Bartok - _Divertimento for String Orchestra_

Jennifer Higdon - _Southern Harmony_, movement 2 (_Reel Time_)

Michael Abels - _Global Warming
_
Philip Herbert - _Elegy: In Memoriam-Stephen Lawrence
_
Xavier Foley (one of the two contrabassists - b. 1994) - _For Justice and Peace_

Jessie Montgomery (a former member of the ensemble) - _Source Code_

Franz Schubert - _Death and the Maiden_, movement 4 (_Presto_).

Then an encore which was by Astor Piazzola (didn't catch the entire title, but the word "fuga" was definitely part of it)

This was an outstanding performance, especially the Bartok work, the second movement of which is a great example of his "night music." If you ever have an opportunity to see this ensemble, I'd recommend that you leap at it.


----------



## perempe

Gábor Takács-Nagy, the founder of the Takács Quartet, conducted the Budapest FO in Liszt Adademy on Saturday. Haydn's Symphony No. 20, Mozart's Piano Concerto No. 9. with Jean-Efflam Bavouzet, Mozart's Symphony No. 36. Takács conducted like a little kid with great enthusiasm, his score was heavily marked with at least 3 colors. Bavouzet played a movement from a Haydn piano concerto as an encore without orchestra. I've already heard Bavouzet in the same building with Hungarian RSO a few months ago when he performed Ravel's PC. I upgraded in the intermission from the 2nd row of choir seats to 2nd row in the stalls, but the choir seat was suprisingly good as well. (I can not recommend row 1 of the choir seats despite they're pricier than row 2/3 as they're too close to the double-basses or the tympany.)
3 weeks earlier Anima Musicae Chamber Orchestra played Mozart's Symphony No. 40 in MOM in a free concert, this was much better.

I went to Gyöngyös after the concert and heard excerpts from Hair. it wouldn't had worked out in Broadway, but it was an ok performance in that theatre, as it was a free concert for International Music Day.


----------



## Eramire156

*Tonight's concert*

Last week in NYC it was the New York Philharmonic, tonight back homein the Windy City at Orchestra Hall, my first Cso concert since end of the strike last season.

Prokofiev Overture on Hebrew Themes
Mendelssohn Piano Concerto No. 1
Mendelssohn Capriccio brillant
Lutosławski Concerto for Orchestra

Sunwook Kim

Chicago Symphony Orchestra
Kirill Karabits

The Lutoslawski in particular was a highlight.


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## perempe

School for Exceptional Young Talents (of Liszt Academy) gave concerts in Liszt Academy yesterday with Animae Musicae Chamber Orchestra. Haydn: Cello Concerto No. 1 in C major / Haydn: Violin Concerto No. 4 in G major / Mozart: Piano Concerto No. 12 in A major. I think all the 9 soloists who played only 1 movement were below 15 and all 3 cello soloists were asian. the orchestra was great, they played Mozart's 40th with guests last time, that's why I wasn't satisfied. I really enjoyed this free concert.


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## bharbeke

This weekend, I saw Star Wars: The Empire Strikes Back at the Phoenix Symphony. The Blu-ray version of the film is projected with subtitles while the orchestra plays the music live. The intermission point comes at the same place that the two-disc soundtrack splits, right after Luke's encounter in the cave on Dagobah. That cue ends with a statement of Vader's theme. After intermission, the orchestra played a shortened concert suite version of Vader's theme before getting back into the film. They did not have any female vocalists for the arrival at Cloud City.

The audience could sometimes be distracting, but they also highlighted just how much good humor is in Empire. My biggest criticism is that the trumpet section sounded really weak, like they needed to have about five more of them on stage for the big fanfares. I love the movie and soundtrack, but hearing it live was not an improvement over listening to the LSO's soundtrack.


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## Faramundo

Mahler's 7 at the Philharmonie in Paris (Porte de la Villette)
Alexandre Bloch and the Orchestre National de Lille
Almost 100 musicians on stage, fantastic acoustic, a brilliant moment.
Favourite movements, the 2nde (first Nocturne)and the Final.


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## perempe

another Hungarian Radio SO concert this past Wednesday in Liszt Academy. Beethoven's Piano concerto No. 4 (with Dezső Ránki) & Christus am Ölberge (op. 85).

the following day I sneaked in to Budapest Festival Orchestra's annual Sándor Végh Competition. It was held in their rehearsal room in Óbuda. (the winners will perform next season.) I might have been the only non-family member there. I enjoyed it a lot despite the pieces were usually performed with piano arrangement. (Andante e rondo ongarese was a nice exception.) I saw the orchestra members' briefcases and instruments as they are now in Vicenza to perform Monteverdi's La favola d'Orfeo.
Antonín Dvořák: Rondo, Op. 94
Carl Maria von Weber: Bassoon Concerto in F major, Op.75
Felix Mendelssohn-Bartholdy: Violin Concerto in D minor, MWV O 3
Marcel Grandjany: Symphonic Poem for Harp, French Horn and Orchestra, Op. 6
Jacques Loussier: Violin Concerto No. 2
Liszt Ferenc: Fantasie über Motive aus Beethovens Ruinen von Athen, S.122
Domenico Cimarosa: Concerto for 2 Flutes in G major, G.1077
Wolf Péter: Utazás (1. Le Havre, 2. Andalucia, 3. Liverpool, 4. Bihar, 5. Jerusalem)
Carl Maria von Weber: Andante e rondo ongarese, Op 35.
Artie Shaw: Clarinet concerto


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## perempe

saw La fille mal gardée yesterday in Erkel Theatre. It was ok, but Tchaikovky's Nutcracker, Swan lake and Prokofiev's Romeo and Juliet are much better. after the ballet I went to an organ recital in Saint Gellert Church (Újbuda): Chaconne in E minor (BuxWV 160), Prelude and Fugue in B minor (BWV 544), Passacaglia and Fugue in C minor (BWV 582) & Franck's Grande Pièce Symphonique. Riga Academy of Music and Liszt Academy shared an evening: I heard new pieces and Martinu's & Ravel's trio. It was a long day that could have been even longer as Angelica Girls’ Choir Jubilee Concert was in Liszt Academy's Grand Hall, but I didn't force things, arrived home 80 minutes earlier.


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## Joe B

Joe B said:


> This Friday, Nov. 1, Masaaki Suzuki will be leading the Yale Schola Cantorum with Juilliard415 in a performance of Georg Philipp Telemann's "The Day of Judgment" and "Overture in D major, TWV 55: D23" at the Trinity Lutheran Church in New Haven, CT. The concert is free and open to the general public. I am definitely going and am just waiting to hear back from the church regarding handicap accessibility for my wife. Hopefully we both will attend, but she insists I take advantage regardless. The next day, Saturday, Nov. 2, this same concert will be performed at Lincoln Center, NYC.
> 
> 
> 
> 
> 
> 
> 
> 
> Schola Cantorum | Telemann: Day of Judgment


Last night's concert was excellent. The Trinity Lutheran Church in New Haven was packed, I'd say about 98% capacity with a seat here or there, and Yale Schola Cantorum and Juliard415 were in great form. Watching Masaaki Suzuki conduct was fun. He really gets into the music. His conducting style made me think of a puppeteer as he seemed to play the ensemble with his gestures. The performers all seemed to have a really good time. Acoustics in the church were good; everyone had a good seat. My wife and I were in the front on the left hand side and were greeted by Pat Sundermann of the church upon our arrival (I had contacted her with a handicap accessibility question). We were made to feel right at home. A great night out!


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## perempe

Péter Eötvös conducted the Hungarian National Philharmonic Orchestra on Thursday in Müpa. I knew concertmaster Attila Falvay from Kodály Quartet and viola section leader András Rudolf from free concerts in AranyTíz. the performance of Speaking drums was very theatrical after zeroPoints. (you can check it on YouTube with hr-Sinfonieorchester/Frankfurt Radio Symphony.) after the intermission they played Liszt's Dante Symphony with the Hungarian National Female Choir after Eötvös' short piece (Per Luciano Berio). I enjoyed the first part more than the second despite my seat upgrade.


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## Joe B

Joe B said:


> Thanks to information provided by @eljr, I'll be attending a concert Nov. 7 at Lincoln Center, NYC. Harry Christophers will be leading The Sixteen along with the Britten Sinfonia performing James MacMillan's "Stabat Mater" and "Miserere" for the first time in the US. I just finished buying a ticket for the concert, train tickets to/from NYC, and made a reservation at Dizzy's Jazz Club in NYC to catch a show and kill a few hours before my train leaves the city in the wee hours.


This concert took place last night. Prior to the concert, I attended a small 'lecture', perhaps 60 people, where Sir James MacMillan was interviewed.....informative. The concert was excellent: Harry Christophers, The Sixteen, Britten Sinfonia, all in excellent form. It was a very spirited performance.

Sonically, Alice Tully Hall was an excellent location for the venue. At the interview, MacMillan mentioned the hall's sonic character was not flat (a good thing for vocal music). He said Harry Christophers and members of The Sixteen were talking about it at rehearsal.

After the performance, I managed to share a few moments with @eljr who was also in attendance. He also enjoyed it. After that, he headed out for sushi while I headed for some jazz at Dizzy's. By the time I got home, it proved to be a very long day.


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## Joe B

Joe B said:


> This concert took place last night. Prior to the concert, I attended a small 'lecture', perhaps 60 people, where Sir James MacMillan was interviewed.....informative. The concert was excellent: Harry Christophers, The Sixteen, Britten Sinfonia, all in excellent form. *It was a very spirited performance.*
> 
> Sonically, Alice Tully Hall was an excellent location for the venue. At the interview, MacMillan mentioned the hall's sonic character was not flat (a good thing for vocal music). He said Harry Christophers and members of The Sixteen were talking about it at rehearsal.
> 
> After the performance, I managed to share a few moments with @eljr who was also in attendance. He also enjoyed it. After that, he headed out for sushi while I headed for some jazz at Dizzy's. By the time I got home, it proved to be a very long day.


After having time to process the concert experience, I'll take back what I said about a "spirited performance". I was front row between the concert leader and conductor, and I was able to see all but 4 strings and 4 singers. Britten Sinfonia's playing could best be described as fierce. The musicians played with incredible intensity. The Sixteen were fabulous. I honestly don't know how it could have been a better performance.


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## eljr

Joe B said:


> This concert took place last night. Prior to the concert, I attended a small 'lecture', perhaps 60 people, where Sir James MacMillan was interviewed.....informative. .


I need to know everything that was said!

As Joe enjoyed the lecture I was in the pouring rain fighting NYC traffic!


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## perempe

After the season's 1st BFO concert (from 3:30PM) in Liszt Academy (PROKOFIEV: WAR AND PEACE - OVERTURE / TCHAIKOVSKY: VIOLIN CONCERTO IN D MAJOR with Renaud Capuçon + Méditation from Thaïs as encore / PROKOFIEV: ROMEO AND JULIET - SUITE, OP. 64A AND 64B EXCERPTS conducted by LAHAV SHANI) I went to Solti Hall and heard Paul O'Dette tuning and practicing before his concert on Saturday. I spent about 10 minutes there. I went out and met David Russell. I asked him for solo guitar CD recommendations, but he had to go. I thought he also wanted to hear the rehearsal. (There was a guitar festival and masterclass in Liszt Academy.)

I went to Evangelical Church in Buda Castle District. Miklós Árpás came home from Switzerland to play his Mozart arrangements for organ (from 7PM). I liked it a lot!


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## SixFootScowl

Mussorgsky's Pictures at an Exhibition is this weekend in Detroit:
https://www.dso.org/events-and-tickets/events/pictures-at-an-exhibition/


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## eljr

Last night I saw a mesmerizing presentation of, The Armed Man, A mass for Peace by Karl Jenkins.

It was held at St. Malachy's The Actors' Church in midtown Manhattan. 

Directed by Stephen Fraser. 

Truly no words can describe the excellence of the presentation.


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## senza sordino

Last night I saw a performance of guest conductor Ton Koopman and m local orchestra perform:

*Bach Orchestral Suite no 3, Bach Brandenburg Concerto nos 1&3, Handel Music for the Royal Fireworks.*

This concert was not in the usual big venue but a smaller newer theatre with outstanding acoustics. The orchestra was smaller, not everyone played so many regular orchestra members had the night off. The Bach Brandenburg no 3 was performed by three violins, three violas, three celli, one bass and Ton Koopman on harpsichord. It was fabulous to hear the individual players. I've had individual lessons from one of the violin players, it was great to watch and hear her play. Overall the concert was a delight. It's so refreshing to hear baroque music with a smaller orchestra.

The overall quality of sound was terrific. I doubt they played the pieces truly authentically though. It sounded like steel strings and all had modern bows, no baroque bows. And probably tuned to 440 Hz, I don't have perfect pitch but warming up sounded 'normal'. But there were no flutes, clarinets or trombones. The violins and violas stood for the Brandenburg no 3. I thoroughly enjoyed my evening.

I didn't review the concert I went to two weeks ago. I saw *Casablanca* with the orchestra performing the score live. The film was projected on a big screen above the orchestra with all the original dialogue in tact. This was fun. Each year, to bring in a large audience, the orchestra plays Star Wars, Indiana Jones etc. That's never interested me. But when I saw that the orchestra were doing Casablanca I was intrigued. The sound was fantastic for Casablanca, and at times too loud to hear the dialogue. Subtitles in English are projected. Max Steiner wrote the score. I enjoyed this evening too, it was a different orchestra experience.

If my local orchestra perform another old movie score I might attend. It's a good way for the orchestra to pack a theatre, there wasn't an empty seat. The orchestra members wore white coats. Popcorn was available but so was alcohol. I chose the latter.


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## Judith

Lovely concert yesterday with local orchestra 
Airedale Symphony Orchestra

Dvorak. Carnival Overture
Grieg Piano Concerto 
Sibelius. Symphony no 1

Soloist. James Kirby
Conductor. John Anderson

Was at Kings Hall in Ilkley


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## perempe

2 free organ recitals yesterday with Messiaen's La Nativite du Seigneur in a church at Bosnyák Square and in Capuchin Church (Couperin: Offertoire sur les grands jeux / Liszt: Odes funèbres / Bach: Prelude and Fugue in E-flat major, BWV 552 / Bach: O' Mensch bewein dein Sünde gross / C. Franck: Final).


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## Joe B

Joe B said:


> This weekend I learned that Nigel Short and Tenebrae will be touring the US in November. On 11/15/19 they will be performing Joby Talbot's "Path of Miracles" along with Owain Park's "Footsteps" at the Rockefeller Memorial Chapel at the University of Chicago. I just got through booking train tickets (sleeping compartment both ways for the 20 hour ride), hotel room a few miles from the chapel, and a concert ticket. I will be sitting in the front row, 4th seat to the right of Nigel Short. To say I'm psyched would be an understatement!


So last Thursday I took a 20 hour train ride to Chicago and saw Tenebrae perform Joby Talbot's "Path of Miracles". Nigel Short and Joby Talbot had a conversation an hour before the concert. I had the opportunity to speak briefly with each of them. The concert was great. The choir was in top form. The choir used the chapel to their advantage. Choir members moved to different locations in the chapel (which is huge) at different times creating effective sonic drama, adding to the presentation.

Owain Park, composer of "Footsteps", which was performed before "Path of Miracles", sings as one of Tenebrae's basses. One of the tenors is also a full time member of The Sixteen. He and one of the basses were both at the performance of James MacMillan's "Stabat Mater" 2 weeks ago in NYC, singing solo parts. I briefly spoke with them on the way out of the chapel.

An incredible performance.


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## bharbeke

I saw half of a show yesterday. The first piece was EOS by Augusta Read Thomas. It did not sound noticeably different from the orchestra members warming up on stage before the lights went down.

The other piece I heard was Beethoven's Piano Concerto No. 2. Stewart Goodyear was the pianist, and he did a fine job. I think I'm done with shows at the Phoenix Symphony for the season, though, as the audience crinkling and coughing was seemingly endless, even during the big cadenza in the first movement. I love the Swan Lake music, but I figured it would be more of the same from the audience, so I left at the interval.

I have single tickets for a few shows in May and June 2020. If mbhaub or any other people near Phoenix want them, please send me a PM.


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## eljr

Joe B said:


> So last Thursday I took a 20 hour train ride to Chicago and saw Tenebrae perform Joby Talbot's "Path of Miracles". Nigel Short and Joby Talbot had a conversation an hour before the concert. I had the opportunity to speak briefly with each of them. The concert was great. The choir was in top form. The choir used the chapel to their advantage. Choir members moved to different locations in the chapel (which is huge) at different times creating effective sonic drama, adding to the presentation.
> 
> Owain Park, composer of "Footsteps", which was performed before "Path of Miracles", sings as one of Tenebrae's basses. One of the tenors is also a full time member of The Sixteen. He and one of the basses were both at the performance of James MacMillan's "Stabat Mater" 2 weeks ago in NYC, singing solo parts. I briefly spoke with them on the way out of the chapel.
> 
> An incredible performance.


you still hve not told me how cool the train ride???????


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## SixFootScowl

December 7, going to see *Handel's Messiah*

December 21, going to see *the Nutcracker*


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## Radames

I found out about a really good small orchestra of professional musicians in Montreal called Pronto Musica. They should advertise better - they've been around for several years and I did not know them. I heard them last night play Haydn's' 85th Symphony. They also dedicated the Barber Adagio for strings to Mariss Jansons.


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## perempe

saw the Hungarian National Philharmonic Orchestra again in Liszt Academy. Debussy's Prélude à l’après-midi d’un faune/Saint-Saëns Piano Concerto No. 2 (with Louis Schwizgebel; Schubert's Impromptu Op.142 No.2 in A flat Major as encore)/Elgar's Symphony No. 2. Mischa Damev was the conductor. before the concert I heard Debussy's Violin Sonata, Schumann's Piano Quintet and the first two movements of Mozart's Piano Quartet No. 1 in a free concert in the Old Academy of Music which was Liszt's house, it's only 1 stop with Metro Line M1.


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## Rogerx

Clouds Weep Snowflakes said:


> On July 10th I attended a concert preforming Verdi's Requiem, and it was amazing!


Who where the soloists?


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## RobertKC

Yo-Yo Ma, Pamela Frank, and Emanuel Ax delivered a wonderful performance tonight with Michael Stern and the Kansas City Symphony to celebrate Isaac Stern's centenary year, and the 250th anniversary of Beethoven's birth:

Beethoven

Piano Trio in E-flat Major, op. 70 No. 2

Overture to _Egmont_, op. 84

Concerto in C major for Piano, Violin, Cello and Orchestra, op. 56
"Triple Concerto"​


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## perempe

RobertKC said:


> Concerto in C major for Piano, Violin, Cello and Orchestra, op. 56
> "Triple Concerto"


the three Maiskys will play it with the Hungarian National Philharmonic within a month.

today I saw the wind orchestra of Felsőtárkány. it was suprisingly good. they were on paar with the brass ensemble of the University of Miskolc. (I saw their christmas concert on Monday. I consumed 4 glasses of mulled wine with gingerbread in the intermission there.) unfortunately I had to leave before the intermission because of the bus schedule, so no mulled wine this time. they played some soundtracks after the intermission (Disney and Morricone).

on Wednesday I saw Miskolc Symphony Orchestra's annual free christmas concert in Selyemrét church. I attended a year ago as well, this time I managed to take a seat. enjoyed bass László Jekl. I left before the christmas songs.
Orchestral Suite No.3 in D, BWV 1068
J. C. Bach: Fugue on BACH
Der Friede sei mit dir, BWV 158
CPE Bach: Sinfonia in B-Flat Major, Wq. 182/2
Ach Gott, wie manches Herzeleid, BWV 58


I saw BFO's concert a week ago. I heard Symphonie fantastique for the third time in 7 months, but this was the best by far. the conductor was Mark Elder.
Finzi: The fall of the leaf, Op. 20
Brahms: Double concerto (Vilde Frang, Truls Mørk)
Berlioz: Symphonie fantastique


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## perempe

Budapest Festival Orchestra performed Vivaldi's La Sena festeggiante with soloists Emőke Baráth, Sonia Prina & Brindley Sherratt yesterday. Jonathan Cohen conducted and played the harpsichord. one of the best concerts ever despite I'm not into Vivaldi. it was a real pleasure to hear such soloists. (I sat in front of Sherratt.) I shouted "FINALE!" loudly multiple times from the first row during the applause, and they played it once again. did they give an encore on Friday as well?


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## Eramire156

*CMS on tour @ Harris Theatre*

The Chamber Music Society of Lincoln Center, last night at the Harris Theatre

*Suk Elegie for Piano, Violin, and Cello, Op. 23 (1902)
Janácek Sonata for Violin and Piano (1914-15)
Debussy Quartet in G minor for Strings, Op. 10 (1893)
Brahms Quartet No. 2 in A major for Piano, Violin, Viola, and Cello, Op. 26 (1861)

Juho Pohjonen - Piano
Danbi Um - Violin
Richard O'Neill - Viola
Jan Volger - Cello
Escher String Quartet 
*

A great concert, with a mix of rep, always a joy to hear Brahms live.


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## Judith

Lovely concert yesterday evening at Leeds Town Hall

Royal Liverpool Philharmonic Orchestra
Conducted by Vasily Petrenko

Performing 

Rossini Overture - William Tell 
Vaughan Williams The Lark Ascending (soloist Stephanie Childress)

Schubert Songs with Orchestra (soloist Benjamin Appl):-
arr Jackson Die Forelle
arr Webern Du bist die Ruh
arr Brahms Geheimes
arr Reger Am Tage aller Seelen
arr Liszt Erikonig

Beethoven Symphony no 6


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## Rogerx

Judith said:


> Lovely concert yesterday evening at Leeds Town Hall
> 
> Royal Liverpool Philharmonic Orchestra
> Conducted by Vasily Petrenko
> 
> Performing
> 
> Rossini Overture - William Tell
> Vaughan Williams The Lark Ascending (soloist Stephanie Childress)
> 
> Schubert Songs with Orchestra (soloist Benjamin Appl):-
> arr Jackson Die Forelle
> arr Webern Du bist die Ruh
> arr Brahms Geheimes
> arr Reger Am Tage aller Seelen
> arr Liszt Erikonig
> 
> Beethoven Symphony no 6


See the Benjamin Appl twitter account, lucky you.


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## Roger Knox

https://www.tafelmusik.org/concert-calendar/concert/more-bach-motets

This Tafelmusik Choir concert of motets by composer members of the Bach family was superb! Conducted by Ivars Taurins, tone and diction were splendid and the passion of Pietist verses came through well. The motets were separated by single movements from J. S. Bach's solo cello sonatas, played with distinction by Tafelmusik Ochestra's new principal cellist Kieran Campbell. Incidentally the other family composers were from *previous generations* of Bachs (e.g. Johann Michael) and you could hear what a rich background Johann Sebastian came from!


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## Rtnrlfy

A gorgeous evening of music in Baltimore tonight - Baltimore Symphony conducted by Marin Alsop, featuring Sheku Kanneh-Mason. What was especially delightful was seeing the mix of ages in the audience; that has not always been the case in our trips there. It also seems that the city has rallied behind the orchestra following its financial challenges last year.

Program:

Florence Price, The Oak 
Camille Saint-Saëns, Cello Concerto No. 1
Antonin Dvorák, Symphony No. 7


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## perempe

Liszt Academy's free organ exams yesterday. The reconstructed 1907 Voit organ sounded again about a year ago after years of silence. read about it here. the BA exams started at 6PM, while the MA exams started at 9:30PM.

my favourite pieces were these:
Vierne's Carillon de Westminster, Op. 54 No. 6,
Dupré's Prelude & Fugue in G minor, Op. 7 No. 3,
Franck's Choral No. 3 in A minor.


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## perempe

Tamás Vásáry conducted the Hungarian RSO on Monday.

Hermann und Dorothea overture
Piano Concerto (with Balázs Fülei)
(Encores: Myrthen - Widmung, 3 Romanzen - No. 2 in F sharp major)
***
Symphony No. 4 in D minor

I prefer the last Schumann concert (Symphony No. 2/Cello Concerto/Symphony No. 3). Das Paradies und die Peri will be on the 4th & last Schumann concert in March.


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## perempe

I attended a piano accompanist DLA concert to hear Franks's Violin Sonata today. they played the flute version. another free concert after it: the student of Liszt Academy & The Jerusalem Academy of Music and Dance played together. they did not want to let people in without tickets this time. (Usually free tickets can be claimed one month before the concert, but they let you take an empty seat in the last minutes.) they sent home about 20 people despite the lots of empty seats. (I did not go home, waited a minute, got in before they closed the doors.) did they do it because of the corona virus or because of a protected person, who was also present? (the Israeli Ambassador with his bodyguard?) I enjoyed Introduction and Allegro, Fauré's PQ and Chant de Linos.


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## AeolianStrains

Saw Aleksander Simic, a 16 year old "rising star", and Tatiana Goncharova at Weill Recital at Carnegie Hall this evening. It was good! Simic tackled my favorite cello sonata, Brahms' E minor sonata, with grace, finesse, and passion, so that was impressive. He also deftly handled Popper's Hungarian Rhapsody op. 68. He was not without errors, but nothing egregious coming from a kid. However, the pianist was superb. Powerful in her own right but never overshadowing the cello, praise for Goncharova cannot be understated. There was even a comic element with the page turner messing up a few times, but Goncharova still pulled it off flawlessly. It was overall a pleasant experience.


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## Eramire156

*Last night at Symphony Center*

*Sibelius & Nielsen: A Nordic Celebration










Sibelius Finlandia
Nielsen Violin Concerto
Nielsen Helios Overture
Sibelius Symphony No. 5

Chicago Symphony Orchestra
Hannu Lintu conductor
Pekka Kuusisto violin*

A good concert, not a great concert, never been a big fan of Nielsen VC, a nice touch is when Kuusisto joined the orchestra for Sibelius 5th.


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## Haydn man

Earlier this week lucky enough to go to Amsterdam and hear the Concertgebouw 
Hengelbrock conducting

Beethoven Egmont Overture
Lutoslawski Cello Concerto
Beethoven Symphony No.5

Wonderful venue and superb orchestra a real treat
They did the 5th at a very brisk pace which seemed just a bit too fast for my ears leading to a loss of impact. Fate seemed to be in a hurry, but I guess this is the modern way with Beethoven.


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## Tero

Been about 3 years since last classical, it was a baroque festive thing, Vivaldi and some Bach. Going to local symphony here in the prairie in April, a concert around Fantasia, so Firebird etc. Also some locally commissioned work first played in 2006. I was not able to find a recording ever made of it.


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## eljr

I watched the last rehearsal before the North American Premier of Jörg Widmann’s “Babylon” Suite.

Also, Symphonia Domestica, Op. 53, the tone poem for large orchestra by Richard Strauss.


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## adriesba

I just attended an Orchestra of the Southern Finger Lakes concert this afternoon. The program was as follows -

Mozart: _The Abduction of the Seraglio_ overture (arranged for a small string ensemble)

Brahms: movements I, III, VII, and IX from Variations on a Theme by Haydn

Nazaykinskaya: _Fenix_

Stravinsky: Suite from _The Firebird_ (version from 1919)

Prokofiev: _Peter and the Wolf_

A string ensemble of kids played in the first two pieces. I won't sugarcoat it: they sounded pretty bad. But they are just kids so I'll tolerate it.

The Suite from _The Firebird_ made me realize that I really should become more familiar with Stravinsky's music since I really enjoyed what I heard of it.

The _Peter and the Wolf_ performance was choreographed. It wasn't anything fancy, but it was cute, I suppose.

The biggest surprise of the concert though, was the performance of _Fenix_ by Polina Nazaykinskaya. I wasn't expecting anything special, since it's a very new piece (I was expecting it to be boring at best). However, it was actually very enjoyable. The composer herself came on stage to introduce the piece. I believe she was born in Russia but now lives in the U.S. The piece was very Neo-Romantic and represents the legend of the Phoenix. It had an interesting sound effect of the brass and wind players blowing into there instruments without actually playing notes (it was meant to sound like wind). The piece had a three note leitmotif. I had trouble keeping track of the leitmotif at times, but it could just be me. I believe it premiered in Albany, New York in April last year. I believe OSFL played another one of her pieces in the past. So, it's surprising that I enjoyed this new piece, considering the one I heard before was rather boring. I hope the _Fenix_ becomes more popular and is recorded. I was simply surprised by it.

Overall the concert was quite enjoyable. I hope they still end up performing Strauss's _Don Juan_ at their concert in May. It seems to have disappeared from their program.


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## SixFootScowl

Hélène Grimaud performance cancelled at the University of Michigan, but they are giving free access to listen to the playlist *HERE*. The playlist is of her exact concert recital program, featuring music from her latest album, Memory, and 2009 recording of Schumann's Kreisleriana.


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## adriesba

adriesba said:


> The biggest surprise of the concert though, was the performance of _Fenix_ by Polina Nazaykinskaya. I wasn't expecting anything special, since it's a very new piece (I was expecting it to be boring at best). However, it was actually very enjoyable. The composer herself came on stage to introduce the piece. I believe she was born in Russia but now lives in the U.S. The piece was very Neo-Romantic and represents the legend of the Phoenix. It had an interesting sound effect of the brass and wind players blowing into there instruments without actually playing notes (it was meant to sound like wind). The piece had a three note leitmotif. I had trouble keeping track of the leitmotif at times, but it could just be me. I believe it premiered in Albany, New York in April last year. I believe OSFL played another one of her pieces in the past. So, it's surprising that I enjoyed this new piece, considering the one I heard before was rather boring. I hope the _Fenix_ becomes more popular and is recorded. I was simply surprised by it.


They put out a video of the performance:






What do you all think?

I think the brass needs tuning.


----------



## philoctetes

Looks like the new normal is televised living room concerts... pay-per-view but not on-demand which is kinda disappointing.... and we may see more streaming limitations to come unfortunately... but it should not affect audio just video...


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## perempe

Here in Hungary we still have concerts. Yesterday Isabelle Faust & Il Giardino Armonico performed Locatelli's works in Liszt Academy. I certainly enjoyed it despite I'm not interested in renaissance/baroque music.

It was about my 10th concert of the new season. The audience is the same regardless of the number of sold tickets, at least 2/3 of the hall is empty.


----------



## perempe

I saw yesterday's BFO concert in Italian Cultural Institute. A string orchestra played, there were only 3 cellos and 1 double bass. The concert validated the famous string sound of the orchestra. I registered 2 weeks before the concert, the ticket was 1000HUF (3€).

I read Music as Alchemy (on BFO) and Shoot the Conductor (on Ormándy) on the train/bus.

---
ELGAR: SERENADE FOR STRINGS IN E MINOR, OP. 20
DVOŘÁK: NOCTURNE IN B MAJOR, OP. 40
LOUSSIER: VIOLIN CONCERTO NO. 2

DUBROVAY: TRUMPET CONCERTO NO. 3
DVOŘÁK: SERENADE FOR STRINGS IN E MAJOR, OP. 22


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## Radames

Chamber music festivals are going now. Just heard Dvorak's piano quintet yesterday.


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## starthrower

I've got tickets for the Dover String Quartet on August 12th. My first live show since September 2019. Can't wait to get out and hear some live music and see the people.


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## siennn07

Anybody knows if there are any online concerts that we can listen to?


----------



## Forster

Off to Castle Howard Proms on the Park tonight. Gio Campari top of the bill and heavy rain forecast 90%. :lol:

I have no idea what's on the programme, but I'm sure it will be a quintessentially British event.


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## Judith

First recital in a year yesterday

Stephen Hough

Performed

Rawthornes. Bagatelles
Schumann Kreisleriana
Hough. Partitia
Chopin. Ballade no 3
Chopin Nocturnes op 15 no 2 and op 9 no 2
Chopin Scherzo no 2

Met him afterwards and got Schumann CD and programme autographed. He was really nice and friendly.
A lovely recital and enjoyable evening!


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## bharbeke

I saw The Phoenix Symphony on Saturday night. The program was:

Stravinsky: Symphony in C
Gershwin: Rhapsody in Blue
Intermission (a surprisingly popular work  )
Gershwin: An American in Paris
Stravinsky: Firebird Suite (1919 version)

Rhapsody in Blue is often in the top 5 most voted for works on our annual radio station poll in Arizona, sometimes topping the list, so the audience was predisposed to like it. Still, the soloist and orchestra knocked it out of the park, garnering enough enthusiastic applause to more than justify a rare encore (Billy Joel's "Scenes From an Italian Restaurant" reworked for solo piano).

Firebird Suite has a nice people-watching moment at the start of the Infernal Dance portion. The finale, particularly the last minute, is always wonderful to hear, and I just wish I had more enthusiasm for the earlier parts of the suite. I generally point people to the Fantasia 2000 version of The Firebird Suite, as you get all of the best musical bits and some supremely fine animation.


----------



## eljr

bharbeke said:


> I saw The Phoenix Symphony on Saturday night. The program was:
> 
> Stravinsky: Symphony in C
> Gershwin: Rhapsody in Blue
> Intermission (a surprisingly popular work  )
> Gershwin: An American in Paris
> Stravinsky: Firebird Suite (1919 version)
> 
> Rhapsody in Blue is often in the top 5 most voted for works on our annual radio station poll in Arizona, sometimes topping the list, so the audience was predisposed to like it. Still, the soloist and orchestra knocked it out of the park, garnering enough enthusiastic applause to more than justify a rare encore (Billy Joel's "Scenes From an Italian Restaurant" reworked for solo piano).
> 
> Firebird Suite has a nice people-watching moment at the start of the Infernal Dance portion. The finale, particularly the last minute, is always wonderful to hear, and I just wish I had more enthusiasm for the earlier parts of the suite. I generally point people to the Fantasia 2000 version of The Firebird Suite, as you get all of the best musical bits and some supremely fine animation.


The American Rhapsody looks very interesting on the upcoming schedule, do you have tickets?


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## bharbeke

eljr said:


> The American Rhapsody looks very interesting on the upcoming schedule, do you have tickets?


I do not. I love the Dvorak 9, but I have already seen it performed by the Phoenix Symphony (admittedly, years ago). Generally, I do not prefer to have spoken words mixed with music, so the American Rhapsody does not really appeal to me.

The other performance I am going to this year is Genius Meets Passion (Beethoven 1 with Rachmaninoff PC 3 and Vocalise).


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## Judith

First orchestral concert in two years last weekend.

Local orchestra "Sinfonia of Leeds". 

Walton arr. Mathieson - Suite 'Henry V'
Britten - Sinfonia da Requiem
Schumann - Piano Concerto

Soloist Danny Driver
Conductor David Greed

Wonderful to be back


----------



## Merl

I'm currently listening to the Alkyona Quartet (well almost - they've just gone off for a break), in a nice church hall in Crieff. Top set of quartets for tonight. I've just listened to a lovely Schubert Rosamunde and a really impressive Janacek Intimate Letters. Just Borodin's SQ2 to go.









Edit: just got in and the Borodin was superb. Really top night's entertainment.


----------



## Bwv 1080

Saw Garrick Ohlsson do an all-Chopin recital, including a stellar performance of the 1st Ballade and 3rd Sonata

first concert since COVID


----------



## perempe

I'll listen to it on radio instead of going today, but I'm a regular at their concerts.

HUNGARIAN RADIO SYMPHONY ORCHESTRA
Brahms: Piano Concerto No. 1 in D minor, Op. 15
Brahms: Symphony No. 3 in F major, Op. 90

Varvara (piano)
Hungarian Radio Symphony Orchestra
Conductor: Tamás Vásáry


----------



## Judith

Another local orchestra yesterday
Airedale Symphony Orchestra

Performing a wonderful

Humperdick Hansel & Gretel
Sibelius Violin Concerto 
Beethoven Symphony no 7

Soloist Andy Long
Conductor John Anderson


----------



## Rogerx

Judith said:


> Another local orchestra yesterday
> Airedale Symphony Orchestra
> 
> Performing a wonderful
> 
> Humperdick Hansel & Gretel
> Sibelius Violin Concerto
> Beethoven Symphony no 7
> 
> Soloist Andy Long
> Conductor John Anderson


All dressed up I suppose Judith?


----------



## Judith

Another wonderful concert last week by local orchestra "The Haydn Players"

Performing

Mozart La clemenza di Tito
Haydn. Symphony no 98
Beethoven Symphony no 4

Conductor
Melvin Tay


----------



## Eramire156

*An annual tradition restarts…*

after two years, first because of work and then Covid-19, so this year we weren't going miss it. Last night *

Christmas with Chanticleer * at Fourth Presbyterian Church on Chicago's mag mile









always a great way to begin the Xmas season.


----------



## mollig

Igor Levit with all 24 of Shostakovich's Preludes and Fugues in the Berlin Philharmonie last week.

A memorable evening, but also a very long one, which in the second half seemed to take its toll on both audience (several exits before the end...don't people know what to expect when they buy these tickets?) and performer (playing was generally cleaner and more nuanced before the interval, but no susprise, it's a massive undertaking).


----------



## Highwayman

After a 2-year-long hiatus, I`ve returned to the concert halls of Istanbul tonight. I`ve waited for the right moment for my return and what could have been better than the great Gidon Kremer playing Schnittke?

The concert started with Schnittke`s _(K)ein Sommernachtstraum_ which was my gateway piece for Schnittke, still it`s one of the funniest and most enjoyable works I`ve encountered. It was paired with yet another funny Schnittke work, his 4th VC. Of course this work has some gravity but one cannot help but smile at those (in)famous visual cadenzas. Gidon was particularly playful with those tonight. He is still quite agile for his age (almost 75) but he often got eclipsed by the orchestra (CRR SO conducted by Cem Mansur). Perhaps the conductor is to blame for this but I suspect it is more likely that Gidon -quite naturally- lost some muscle. Anyways, Gidon is still *the* violinist to hear for this Concerto as he is the dedicatee of it and possibly the reason of its existence.

They played for a full-house which was unexpected on my part as I suspect a great majority of the venue heard Schnittke for the first time at this concert. The only explanation I could think of is the cheapness of the tickets (2.38 USD with the current exchange rate). It was not an informed audience as there were some unfortunate ringtones and claps heard out of place but the reception was good and at the end Gidon played his own arrangement for solo Violin of Weinberg`s Cello Prelude op. 100/5 as an encore. I wasn`t actually familiar with this work but it was pretty easy to identify it afterwards as it quotes Schumann`s Cello Concerto.

Not a very long evening like #1377 mentions but memorable nevertheless...


----------



## perempe

Swedish Chamber Orchestra in Liszt Academy today. I listened to the 2nd part of the concert: Mozart's Symphony No. 38. They sounded way bigger and more dynamic than their size (as I counted only 7 first violins and 2 double basses). Only 3 sheets, most of the members played the symphony without sheets! I heard a couple local string ensembles with guest winds (for Mozart symphonies), but the results were average compared to today's concert.


----------



## Judith

Last weekend

Local orchestra
Sinfonia of Leeds

Brahms Academic Overture
Thorvaldsdottir Metacosmos
Brahms. Symphony no 3

Conductors
David Greed
Anthony Kraus


----------



## Haydn man

Last weekend in London

Mahler Chamber Orchestra 
Mitsuko Uchida

Mozart Piano Concerto No.23
Purcell Fantasias 
Mozart Piano Concerto No.24

Absolute bliss


----------



## Judith

Amazing recital at The Venue, Leeds Conservatoire yesterday evening.

Steven Isserlis
Alasdair Beatson

Mendelssohn Variations Concertantes for Cello and Piano
Schumann Violin Sonata No. 2,
Schumann Adagio and Allegro in A flat Major
Mendelssohn Cello Sonata No. 2 in D Major

Encore Faure Berceuse

Met Steven afterwards for autographs and photos. Such a lovely guy as well as an amazing cellist.
Not back to earth yet lol


----------



## Eramire156

Last night a welcome distraction from world events









but as maestro Muti said last night one cannot play or hear in this moment of time the ninth without thinking of people of Ukraine, a wonderful performance.

хай живе Україна


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## eljr

woops!-------------------------------------------------------------:tiphat:


----------



## KevinW

Gladly speaking, I gained a chance to listen to Bruckner 4 and Mozart Piano Concerto No. 17 at Chicago Symphony Center next week! Since I am a boarding student at school I can't really travel off campus myself. I had to propose to Dean of Students for a trip which faculty members leads. Surprisingly, they not only approved, but bought ticket for me along with five other students! The concert will be conducted by Blomstedt. Kudos to this 94 year-old man.

https://cso.org/performances/21-22/cso-classical/blomstedt-conducts-bruckner-4/


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## KevinW

Eramire156 said:


> Last night a welcome distraction from world events
> 
> View attachment 164175
> 
> 
> but as maestro Muti said last night one cannot play or hear in this moment of time the ninth without thinking of people of Ukraine, a wonderful performance.
> 
> хай живе Україна


Oh, how was the concert itself? I planned to go to that concert but did not have a chance.


----------



## KevinW

Eramire156 said:


> Last night a welcome distraction from world events
> 
> View attachment 164175
> 
> 
> but as maestro Muti said last night one cannot play or hear in this moment of time the ninth without thinking of people of Ukraine, a wonderful performance.
> 
> хай живе Україна


Oh, how was the concert itself? I planned to go to that concert but did not have a chance. Also, do you plan to go to any other concert at CSO recently?


----------



## Highwayman

Last weekend a controversial concert took place in Istanbul.

The renowned Russian pianist Boris Berezovsky played Rach 2 with CRR SO. After the Gergiev and Netrebko incidents, it wouldn`t have been surprising if Boris would also got the sack. However, the conductor Murat Cem Orhan made some opening remarks implicitly supporting Berezovsky and criticizing the policies of the Western orchestras. But this was not the only controversial thing happened that night. The piano was set unusually on-stage, the pianist directly facing the audience. This was obviously a symbolic statement which I interpreted as he`s telling that he has nothing to be ashamed of. I might be wrong with my interpretation regarding the symbolism but I`m certain of one thing and that is the unusual setting of the piano was a terrible artistic choice. Piano was completely suffocated by the orchestra every time there was an overlap even in the most climactic moments such as the _Alla Marcia_ section from the 1st movement. I`d have thought Berezovsky was an inadequate pianist for Rach if I didn`t know better. I think it`s safe to say that the concert was a failure musically but the reception was quite positive. I`m not sure if the audience was genuinely happy with the performance or just being supportive but Boris seemed happy with the reception and I`m sure he`ll be back in Istanbul.

In the second half, orchestra played Beethoven`s 4th. Tempi of the latter movements were too ambitious for my taste but I thought it was a decent performance overall. Ironically, this time the audience did not show much enthusiasm...


----------



## perempe

Beethoven: King Stephen, Op. 117 – Overture
Beethoven: Piano Concerto No. 3 in C minor, Op. 37
INTERMISSION
Grieg: Piano Concerto in A minor, Op. 16
Endre Hegedűs (piano)
Budapest Philharmonic Orchestra
Conductor: Dániel Erdélyi

Yesterday's concert in Liszt Academy. I attended the second part of the concert. Hegedűs was given a standing ovation after the 3rd encore (Rákóczi March). I haven't seen a standing ovation in Liszt Academy until now. I haven't seen the orchestra lately as I rarely go to Erkel Theatre. (Budapest Philharmonic is the state opera orchestra.)

Encores:
Etude in C minor op.10 no.12 "Revolutionary"
Etude in E major op.10 no. 3
Hungarian Rhapsody, S.244: No. 15 "Rákóczi March"
Evening in Transylvania (from Bartók's Ten Easy Pieces)


----------



## Judith

Last weekend saw local orchestra

Leeds Haydn Players 

performing

The Ukrainian National Anthem
Vaughan Williams English Folk Song Suite
Vaughan Williams Fantasia on "Greensleeves
Brahms Variations on a Them by Joseph Haydn
Vaughan Williams Prelude Founded on the Welsh Hymn Tune Rosymedre
Haydn Symphony No 99 in E flat major

Conductor
Melvyn Tay

Wonderful concert given by all and lovely to have a chat with the conductor afterwards


----------



## Judith

Another wonderful local orchestra concert yesterday evening.

Airedale Symphony Orchestra

Performing

Hebrides Overture Mendelssohn
Prokofiev Piano Concerto no 3
Tchaikovsky Symphony no 6 (Pathetique)

Soloist. William Green
Conductor John Anderson


----------



## Merl

Just come back from a terrific gig by the Brodsky Quartet at St John's Kirk in Perth. They were brilliant, knocking out a lyrical Shostakovich 6th Quartet followed by an intimate Schubert Death and the Maiden. We even got 2 short Shosty pieces as encores. Nice having a front row seat too. The slow movement of DATM was achingly beautiful. Add to that a fantastic venue with a wonderful acoustic and this was one to remember. I even got a free CD thrown in! Result!









Ukrainian National Anthem
Shostakovich SQ6
Schubert SQ14
Shostakovich Elegy
Shostakovich Polka


----------



## perempe

Julia Fischer and the Rundfunk-Sinfonieorchester Berlin with Vladimir Jurowski. Went for the Symphonic Dances only. Only string players came out after the intermission, they played Silvestrov's Farewell Serenade. I was afraid that that there won't be Symphonic Dances, but other members came out as well, then played the Rachmaninoff piece. I heard it in January, and really like Hungarian Radio SO as a regular at their concerts, but this orchestra is in a different class.


----------



## Kivimees

First concert since pre-Covid:

Flanders Symphony Orchestra, Kristiina Poska, conducting.

Highlights: William Walton, Viola concerto
Beethoven, Symphony 6.


----------



## vincula

I was so lucky to attend this concert in Copenhagen:

https://drkoncerthuset.dk/event/blomstedt-bruckners-4-2/

Felt like walking a few cms. above thew ground when leaving the auditorium. Absolutely wonderful.

A better world's possible, 'cause it does exist.

Regards,

Vincula


----------



## marlow

Just been to hear the St John Passion by Bach with English Touring Opera and local choirs.

Terrific!


----------



## Allegro Con Brio

Just got back from seeing 4 members of the St. Paul Chamber Orchestra do Haydn’s Seven Last Words (string quartet version). This is very meditative music that one has to be in the mood for (some audience members were visibly bored) but I found it exquisite. The tone and phrasing of the musicians communicated profound meaning in every note.


----------



## perempe

Amsterdam Sinfonietta on Monday & Concerto Budapest on Tuesday. Went to the second part of both concerts. I enjoyed the Bach concerto the most despite it's not my cup of tea. The orchestra featured the most beautiful double bass player of the world. Concerto Budapest was just average (Beethoven's Symphony No. 5).

C. Ph. E. Bach: Symphony in E major, Wq 182/6
Thomas Adès: Shanty - Over the Sea (Hungarian premiere)
J. S. Bach: Keyboard Concerto in D minor, BWV 1052
INTERMISSION
J. S. Bach: Keyboard Concerto in F minor, BWV 1056
Walton: Sonata for Strings
Beatrice Rana (piano)
Amsterdam Sinfonietta (concertmaster: Candida Thompson)


----------



## Highwayman

Great Oboist Albrecht Mayer, joined by the Bassoonist Selim Aykal and Deutsche Oper Berlin Ensemble led by Daniel Draganov, played an all-Baroque programme tonight:

Dall’ Abaco: Concerto da Chiesa no. 6 in D, op. 2 *
A. Marcello: Oboe Concerto in D minor
Vivaldi: Concerto for Strings in A major, RV 158
Vivaldi: Bassoon Concerto in E-flat major, RV 483 *
Bach: Oboe Concerto in A major, BWV 1055

Encore: Handel: Lascia ch’io from Rinaldo, II/4, HWV 7

_INTERMISSION_

Hasse: Sinfonia no. 6 in G minor, op. 5
Vivaldi: Bassoon Concerto in E minor, RV 484 
Vivaldi: Concerto for Strings **
Vivaldi: Concerto for Oboe and Bassoon in G major, RV 545

Encore: Bach: Andante from Trio Sonata in E minor, BWV 528

* Programme note was clearly misinformed so I`m not 100% sure of my identification.
** Programme note identifies this as Concerto _alla Rustica_, RV 151 but it most certainly was not that. I cannot identify this but I`m sure it was another Concerto per archi by Vivaldi.

Albrecht played an Oboe d`amore but I can`t tell if it was a modern or historical one thanks to my myopia. Its colour looked like varnished wood but I suspect it was a modern instrument painted as such because rest of the ensemble was consisted of modern instruments. Albrecht`s tone was golden as one would expect. Marcello Concerto was definitely the highlight of the night. Handel aria was very touching and Bach was well Bach. The proto-Sturm und Drang Sinfonia of Hasse was exciting. Rest of the works were a bit dull I`m afraid. As you can see the repertoire was a bit heavy on the Vivaldi side and it could have been insufferable for me if it wasn`t for Albrecht tbh. Bassoonist Selim Aykal (I think he is a nephew of the veteran conductor Gürer Aykal) was also pretty good but I don`t like the Bassoon in a Baroque setting. RV 484 in particular is not bad but still something is remiss.

The concert hall was half empty but the audience was rather informed for Turkish standards, only a couple of mistaken claps and a few coughs. The reception was quite good for a small bunch.


----------



## KevinW

Any Chicagoans going to Jaap Van Zweden conducting Mahler 6 this weekend?


----------



## Merl

Terrific recital tonight from the quite wonderful Dudok quartet. Although they didn't play on gut strings (as on their current Brahms cd) their playing was beautifully expressive and cohesive. The performance of Brahms 3rd quartet was greeted with rapturous applause and for obvious reason - it was superb. What a marvellous evening's entertainment.

Sweelinck (unnamed piece)
Haydn - String Quartet op.20/1
Brahms - String Quartet 3 op.67
Encore
2 Shostakovich miniatures


----------



## Judith

Yesterday evening went to see local orchestra
Leeds Symphony Orchestra 
Performing


La Calinda Delius
Piano Concerto in F Gershwin 
Symphonic Dances. Rachmaninov 

Soloist Alex Norton
Conductor John Lyon

Very enjoyable and interesting repertoire


----------



## perempe

Last Sunday:
Haydn: Violin Concerto No. 1, Mahler: Symphony No. 1 (BFO, Fischer) Müpa
Monday:
The same concert, but attended only the 2nd part.
Tuesday:
Tchaikovsky: Variations on a Rococo theme, Symohony No. 5 (Hungarian Radio SO, Kobayashi) Liszt Academy
Thursday (attended only the 2nd part of the concert):
Mendelssohn: Symphony No. 3, Zemlinsky: Lyrische Symphonie(Staatskapelle Dresden, Thielemann) Müpa
Friday:
Mozart: Piano Concerto No.23, Beethoven: Symphony No. 5 (Concerto Budapest, Keller) Istituto Di Cultura
Vidovszky: Autokoncert, Cage: 4’33, Ligeti: Poème Symphonique for 100 metronomes, Cello Concerto, Kammerkonzert (Concerto Budapest, Eötvös) Budapest Music Center


----------



## HerbertNorman

I went to the Queen Elisabeth Contest for Cello yesterday with my wife in Brussels. We were treated to the cello concertos of Schumann and Lutoslawski ... performance of the latter was breathtaking ... it really was!








Watch & listen







queenelisabethcompetition.be


----------



## FrankinUsa

Went Last Night to see/hear The Cleveland Orchestra at Carnegie Hall. Audience was very close to full capacity. Program was;
George Walker; Sinfonia No.4 "Strands".(2012) Carnegie Hall Premiere
Karol Szymanowski; Violin Concerto No.2 Op.1961(1933)
Soloist:Nicolas Szep-Znaider,violin
Franz Schubert; Symphony No.9 cm major D.944, " Great"(ca.1825-1828)

It was such a great experience to hear live music/orchestra again. Between Covid(2 years+) and I slowed down my concert going for a couple of years before.
There is certainly the convenience of listening to recorded music at home but you hear so much more at a live concert. Hearing pizzicato(even at piano levels) etc takes this to listening to music at a much level. The first half of the program was new to me and going to a concert and listening to music for the first time is really a new and good experience.
Of course,this was The Cleveland Orchestra. I thought they played magnificently combining delicacy and power whenever each was needed. Hearing the individual instruments or groups of instruments proves the accolades this great orchestra gets. Omg,the basses at the end of the Schubert. I could literally FEEL it in my seats. At the end of the Schubert, the Carnegie audience immediately kept to their feet to give a standing ovation.
As for the Violin Concerto,the soloist, Nikolaj Szeps-Znaider, played at least 85% of the time of a concerto that lasted 20 minutes. It was one continuous movement with and extended cadenza that basically separated the first "movement" from the ending movement.
Going forward,I think I will be shifting more of my classical music dollars to going to concerts away from buying CDs. Gee,I already have couple of thousand CDs. I live about 50 miles from Carnegie. Total Cost(ticket,mass transit) was little over $100 US Dollars. Time commitment was 7 hours( out the door and back home).


----------



## perempe

On Thursday:
Sebastian Wyss violin MA diploma concert (for Franck Sonata, Beethoven VC)
UC Berkeley Symphony Orchestra (just an OK performance, our professional orchestras are better)
On Friday:
Dávid Sárosi orchestral conducting MA diploma concert (excellent free concert with MÁV SO, 2 great 7th symphonies)
Yesterday:
Anna Frenyó violin MA diploma concert (left after the VC, should have stayed for other diploma concerts)


----------



## TwoFlutesOneTrumpet

A few comments about the concert. Both Habibi and Coll were present and got up on stage after the orchestra played their works and got some ovation. I don't have plans to seek recordings of their works.

Grieg's Piano Concerto is for the most part really boring. I don't understand why it's so popular.

Mahler's 1st is a fantastic symphony and among my favourite of Mahler's. Great performance. One surprise: I had not realized that a double bass begins playing the "Frère Jacques" theme variation in the 3rd movement; I'd always thought it was a cello.


----------



## LeoPiano

Mahler: Symphony No. 8 "Symphony of a Thousand"

Osmo Vanska, Minnesota Orchestra
Sarah Wegener (soprano), Jacquelyn Wagner (soprano), Carolyn Sampson (soprano), Sasha Cooke (mezzo), Jess Dandy (contralto), Barry Banks (tenor), Julian Orlishausen (baritone), Christian Immler (bass-baritone)
Minnesota Chorale, National Lutheran Choir, Minnesota Boychoir, Angelica Cantanti Youth Choirs
Orchestra Hall, Minneapolis

Tonight's concert (Saturday night) was recorded for Vanska's Mahler cycle on BIS. There were countless microphones on stage for the orchestra and choir, and one for each of the soloists. There were also cameras too because the orchestra is planning on turning the performance into a video that will be on their website sometime in July. The principal cellist Anthony Ross made the announcement before the performance to try to keep the audience quiet, and mostly the audience did, other than some occasional shuffling and coughing that should have been muffled. Sadly something like a bow was dropped on stage right before the "Chorus Mysticus" section so hopefully that will be edited out from rehearsals or other performances. Also, the 3rd soprano soloist could not make this performance, so the 1st sang both parts. I'm unsure if BIS is going to leave that as is, or splice her in from other performances. Either way, it worked well tonight.

It's been a while since I've listened to Mahler's 8th, and I was amazed at how much sound came from the stage in the loud climaxes, which no recording would ever be able to contain. It truly is a "festival" piece, and one that can't be replicated through speakers. The offstage brass (perfectly in tune too, I've never heard the final brass part played so confidently) was in the highest balcony in the far-back left, and the mixing between them and the stage sounded incredible! Because Orchestra Hall doesn't have an organ, something like it (most likely electronic) was used with an amplifier that sounded pretty natural, but it should have been louder. One complaint I had was that the soloists were most of the time drowned out by the orchestra and choir, but that will probably be fixed by the BIS engineers. On second thought, because this concert is being used as a recording, I'm glad that Vanska didn't hold the choir back at all to hear the soloists, because then the climaxes will still sound loud and the soloists will be front and center with a bit of boosting from the engineers. But, for a live performance, it was a bit annoying to not hear the soloists sometimes.

Overall, it was a very moving performance, with the sheer volume of sound coming from the stage being incredible. The soloists were all very fine, and the choirs were phenomenal. Part 1 was wonderful, so no complaints there. At first I didn't like Vanska's tempo at the start of Part 2 because I thought he was dragging it too much, but once it started building, it fit right into the overall picture. I'll want to see how Part 2 works on recording because I thought some parts were a bit too slow, but that could have just been in the moment. The text was translated and projected onto the back of the stage, but I honestly couldn't really follow the story and the music at the same time because there was so much going on. Once the music started taking off about 10-15 minutes from the end, it just kept building and building. The Chorus Mysticus was breathtaking with an incredible build up to the final climax. So, in general, an incredible performance with only a few complaints about balances (which will most likely be fixed by the engineers) and a couple of dragging tempos in Part 2.

I also want to mention this was one of Vanska's "farewell" concerts as music director of the Minnesota Orchestra, and what a great series of concerts to end on! All 3 concerts were fully sold out, and the hall was packed tonight. Vanska, the soloists and the choir directors all left and went back onstage 4 times during the ovation, and the applause was only stopped when the orchestra started leaving!


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## Judith

Been to a wonderful concert today performed by local orchestra

Leeds Haydn Players

Mendelssohn. Hebrides Overture
Haydn Symphony no 102
Mendelssohn Psalm 42

Conductor Melvyn Tay
Soprano Elizabeth Hardman
Choir Clothworkers Consort of Leeds
Choirmaster Bryan White

It was held in the beautiful Clothworkers Centenary Concert Hall at the School of Music Leeds University.


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## perempe

Last Friday:
Dániel Fülöp Orchestral Conducting MA Diploma Concert (Liszt Academy)
Beethoven: Symphony No. 4 in B-flat major, Op. 60
Puccini: Suor Angelica
Featuring: Danubia Orchestra Óbuda

Suor Angelica: Gabriella Létay Kiss (guest artist)
La Zia Principessa: Judit Németh (guest artist)
-----
Last Sunday:
BFO's season-ending concert in Liszt Academy (15:30)
M. Haydn: String Quintet in C major (notturno)
Joseph Haydn: Trumpet Concerto in E-flat major, Hob. VIIe:1
Schubert: Rondo for Violin and Strings in A major, D. 438
Tchaikovsky: Serenade for Strings in E minor, Op. 48

Ferenc Erkel Chamber Orchestra's free concert in Kismaros (19:00)
A Midsummer Night's Dream (Mendelssohn)
-----
Tuesday:
a free piano recital in Gyöngyös
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Wednesday:
Sámuel Tóth Orchestral Conducting MA Diploma Concert (Liszt Academy)
Featuring: MÁV Symphony Orchestra

Mozart: Symphony No. 40 in G minor, K. 550
Wagner: Wesendonck Lieder
Featuring: Tünde Szabóki (vocals)
Stravinsky: The Firebird – Suite (version from 1945)


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## Judas Priest Fan

I saw Beethoven´s 9th for the first time on Friday, and needless to say, it was awesome!

I really enjoyed it!


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## perempe

Listened to Mahler's 4th yesterday. it was a great concert, the students of Vienna & Paris could rival many professional orchestras.


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## Merl

Just got back from seeing the Pavel Haas Quartet in a church in Kilrenny, with fellow TCer, Malx. They played:

Suk - Meditation on the Old Czech Hymn 'St. Wenceslas' op.35a
Korngold - String Quartet 3 op.34
Janacek - String Quartet 2 'Intimate Letters'

As expected they were really good and were especially superb in the opening Suk piece that was absolutely stunning. The Korngold was technically perfect and hugely impressive and the Janacek was a very vibrant and intense reading. A great evening's entertainment. Judging by the rapturous applause at the end I wasn't the only one who thought so.

Edit: the BBC were there too, recording it, so let's hope these performances appear at some point.


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## perempe

On Friday:
California Youth Symphony Orchestra (Liszt Academy, Grand Hall)
Berlioz: Roman Carnival Overture, Op. 9
Bernstein: Symphony No. 2 ( 'The Age of Anxiety')
Gershwin: Cuban Overture
R. Strauss: Der Rosenkavalier – suite 
California Youth Symphony
Parker Van Ostrand, piano
Conductor: Leo Eylar (musical director)
Encores were La Campanella & Love Dreams before break.

yesterday:
Chi-Ho Han Piano Recital (Liszt Academy, Solti Hall)
Debussy: Preludes – I. La fille aux cheveux de lin, I. Les collines d'Anacapri, II/8. Ondine, II2. Feux d'artifice, I0. La cathédrale engloutie
Ravel: Gaspard de la nuit
Albéniz: Ibéria, Book 1 and 2 

Both concerts were free.


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## Judith

Yesterday evening went to a wonderful concert performed by local orchestra
Sinfonia of Leeds

performing

Bernstein Overture 'Candide'
Mendelssohn Violin Concerto
Sibelius Symphony no 2

Soloist Lana Trotovsek
Conductors David Greed/Anthony Kraus

This last season we have focused on supporting local orchestras and they have all been wonderful performances.


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## Judas Priest Fan

Lucky you!!!

Sibelius 2nd is on my list of MUST SEE!


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## Merl

Excellent gig in Glenrothes Rothes Hall (with fellow TCer, Malx) tonight courtesy of the Scottish Chamber Orchestra. Nice lean textures in quality performances. The inner movements of Haydn's Symphony 104 were particularly impressive and Higham had a lovely lyrical tone in the Cello Concerto. Shame we didn't get the Mozart Prague Symphony as advertised, but hey ho. Still fine value.

*Programme*

*MOZART *
Mozart Symphony in D Major K.97 (12') 
*HAYDN *
Cello Concerto No 1 in C Major, Hob. VIIb:1 (24') featuring Phillip Higham (soloist)
Interval (20’)
 
*HAYDN *
Symphony No104 in D 'London' (29’)


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## Malx

A quick post to confirm what Merl posted above - a lovely concert in which it seemed obvious to me that here was a group of musicians enjoying making music something which gladdens my heart.
Even the harpischord continuo in the Mozart was pleasingly musical, duff sounding harpsichords make my teeth hurt - no dental distress was suffered tonight.
All in all a very enjoyable evening..


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## perempe

Dunakeszi Symphony Orchestra's open air concert yesterday with Monarchia Operett's dancers. The program is here.


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## starthrower

I'm going to see Gil Shaham with a no name orchestra in two weeks. But these players are first rank as I've seen them at this festival before.


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## perempe

Kodály World Youth Orchestra's concert in Liszt Academy on Monday. I attended the second part of the concert, Tchaikovsky's Symphony No. 5. It was a complete disaster. They performed the same program in Debrecen as well on Saturday.


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## perempe

Thailand PO's concert yesterday in Istituto Di Cultura, Budapest. It was a fantastic free concert, I heard the 9th many times, this was the probably the best. Alfonso Scarano, the conductor did not use the sheet during the symphony, then he turned multiple pages. The 4th movement was very good despite the fast tempo, hats off to the orchestra! I wanted to hear An American in Paris live for a long time, it was also very good.

Prangchareon: Phenomenon
Dvořak: Symphony No. 9
Bernstein: Symphonic Dances from West Side Story
Gershwin: An American in Paris


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## perempe

September 10 BFO concert (Britten: The Turn of the Screw) in Müpa
September 23 BFO concert in Müpa
September 24 RCO concert in Müpa
September 26 Hungarian RSO concert in Liszt Academy
September 28 MÁV SO concert in Liszt Academy
September 30 Korean National SO concert in Erkel Theatre


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## bharbeke

*Dvorak: Carnival Overture
Bruch: Violin Concerto No. 1 *(Sarah Chang on solo violin)
(intermission)
*Mahler: Symphony No. 1*
Phoenix Symphony, conducted by Tito Munoz

The playing was great throughout, and Sarah Chang is one of the very best virtuoso violin players in the world today. I am learning that I should not eat big meals before a concert anymore, as I found myself less able to pay close attention as the evening progressed, and I could easily have slept during the end of the Mahler symphony.

Here are a couple of things I noticed during Mahler 1. First, the introduction sounds a lot like the opening titles of Star Trek: The Next Generation before Patrick Stewart's voice says the monologue. Second, some of the same themes from the first movement recur later in the symphony. That's probably old news to a lot of Mahler fans out there, but this was the first time I consciously picked up on that.

Are you going to any of the shows this season, mbhaub?


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## Judith

A wonderful concert yesterday evening with local orchestra
Sinfonia of Leeds
Performing

Beethoven Piano Concerto no 1
Tchaikovsky Symphony no 6 (Pathetique)

Soloist Ian Buckle
Conductor David Greed

Took place at the local St Edmund's Church, Roundhay, Leeds


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## perempe

October 1 Opera gala in Gyöngyös
October 2 Cantus Agriensis in Eger
October 5 Il trovatore (Hungarian National Philharmonic)
October 7 BFO concert
October 13 MÁV SO concert
October 14 BFO concert
October 15 Tótpál Szilvia recital in Hatvan
October 19 Budapest Strings Chamber Orchestra concert
October 20 42nd International "Ferenc Liszt" Record Grand Prix and Gala Concert with Latry
October 22 Montreal SO concert
October 27 Hungarian Radio SO concert
October 28 Concerto Budapest concert with Pletnev
October 30 Vienna–Budapest–Helsinki–Paris Orchestral Concert


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## Judith

Last Sunday afternoon, we saw local orchestra
Airedale Symphony Orchestra
performing
The Perfect Fool Ballet Music Holst
Scottish Fantasy Bruch 
The Seasons Glazunov
Cappriccio Espagnol Rimsky-Korsakov

Andy Long violin
John Anderson conductor

Wonderful performance from all and enjoyed it very much


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## Gabriele Adorno

Dec 1, Norrköping (Sweden)
Norrköping Symphony Orchestra, conducted by Christian Lindberg
Mozart: Piano Concerto no. 22, soloist Roland Pöntinen
Pettersson: Symphony no. 8

I have posted a review of the Petterson performance elsewhere in the forum.


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## perempe

Free concert in Budapest Music Center yesterday.
*Sándor Veress*: _String Quartet No. 1_
*Sándor Veress*: _Memento for viola and double bass_
*Béla Bartók*: _String Quartet No. 5_
György Kurtág was also there.


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## Judas Priest Fan

Well, I just got back from the concert at Die Glocke, in Bremen, Germany, and it was amazing  !

The young guy from work who I invited (29, not into Classical Music) really enjoyed it, too  He wants to come with me in the future when I go see another concert.

Either my ears are getting more sensitive to loudness levels as I get older ( I know they are, to a point), or this was the loudest classical concert that I have attended. I have only been to 5 or 6 CM concerts so far.










We were in the front row, but it was quite loud; especially the drums and cymbals. But I could even very, very clearly hear the triangle, and the flute was also quite easy to hear over the rest of the orchestra.

Anyway, I really enjoyed it, and am looking forward to the next concert


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## Waehnen

On Wednesday night we went to ballet to see Prokofiev’s Cinderella! The dancing and choreography was awesome and the music very well crafted and great sounding, indeed.

Neo-classical dance-like music is not my favourite genre but the music was very appealing and worked perfectly as a ballet.


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## bharbeke

I went to see the Phoenix Symphony with guest singer Megan Hilty at the New Years Eve show. It ended up being a bit disappointing for reasons that had nothing to do with the quality of the music.

1. The concert went from 7:30 to about 9:30. Being more of a pops show than classical, they could have done a couple more standards and gotten a little closer to the 10 PM $$ increase mark.

2. Why was the start time so early? I suspect it has to do with the advanced average age of most of the audience causing a concert that crosses the midnight time to be less attractive.

3. Some of the songs chosen were a little too melancholy or contemplative for my taste. For a celebration, Blue Danube should be the most chill and mellow thing that gets played.

4. The last song was Auld Lang Syne. It irks me that we do not have a better standard for a New Year's song than this with more interesting melody and lyrics that are in the modern vernacular. Kool and the Gang's Celebration would be a much better choice. Jon Batiste and his band did a pretty good version of ALS on Colbert, just to end my airing of grievances on a positive note.


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