A dream team in trickily beautiful music.
Weill, Die Sieben Todsünden (inter alia), L. Lenya
Washington Post, April 29
Pops concerts can be a lot of fun, but it is best to market them clearly as such. Thursday night’s concert by the National Symphony Orchestra was a pops concert in all but name, provoking a few grumbles at intermission and afterward about programming that was decidedly lightweight. It fell to American conductor James Gaffigan, last at the podium of the NSO in 2012, to conduct this somewhat underwhelming evening, and he did so capably but without distinction.National Symphony Orchestra
Ravel’s “La Valse” was the climax, a work that seemed overplayed and indeed was last heard from the NSO in 2014... [Continue reading]
With Storm Large, Hudson Shad
Kennedy Center Concert House
jfl, Ionarts at Large: Two Concertos for the Price of One!
Charles T. Downey, BSO and Lise de la Salle (Ionarts, February 18, 2012)
---, Gaffigan Keeps It Nice (Ionarts, January 20, 2012)
Michael Lodico, Weill and Ravel at the Castleton Festival (Ionarts, July 18, 2011)
You may recall our periodic reports on the strikes and demonstrations of the intermittents du spectacle, arts specialists who may not work year-round, in France. This week, members of the various unions representing this group staged "a coordinated wave of theater occupations." The latest activities were in conjunction with the negotiations with the French government over changes proposed to the terms of unemployment insurance to cover these workers during periods when they may not have work. According to statements reported in an article (Les intermittents organisent « une vague coordonnée » d’occupations de théâtres, April 27) in Le Monde (my translation):
They are are calling for even stronger action. "This determination which we have proven until now shows that we are ready to organize ourselves together for the day of April 28 and those that follow: only a general and prolonged strike will make the government bend." A performance of Phèdre(s) with Isabelle Huppert, scheduled for April 26, was canceled because of a "call" from the intermittents to "disturb" the performance, announced a release from the Théâtre de l’Odéon, which "refuses to perform under the protection of the police."Groups have so far occupied the theater of La Comédie-Française, Le théâtre national de l’Odéon, and national theaters in Strasbourg, Bordeaux, Caen, Lille, and Montpellier. The latest news is that in marathon negotiations that ran through last night into today the intermittents have come to an agreement on terms they can accept. It is not certain yet what will happen with the theaters that have been occupied or if performances will continue to be canceled. Le Monde also reports that art students around France have mobilized in solidarity with the intermittents, occupying some schools and other locations.
Organ Works w/Stockmeier on Arts & Music; my first complete such set, picked up at Tower Records in DC back in the old days.
RIP Tower Records: The Tower That Fell (Forbes.com)
The highlights-disc, basically a shortened hybrid taken from both versions, is real treat!
Bach, Cello Suites 1/3/5 (arr. viola), A. Tamestit (Naïve, 2013)
Bach, Partita No. 2 (arr. viola) / Ligeti, Sonata for Solo Viola, A. Tamestit (Naïve, 2007)
The viola and the cello have the same tuning, an octave apart, but the transfer of one instrument’s music to the other is not without challenges. French violist Antoine Tamestit played both borrowed music and a modern masterwork in a Sunday evening recital presented by Washington Performing Arts. The event marked his return to the Kennedy Center Terrace Theater more than a decade after his debut there.Antoine Tamestit, viola (on 1672 "Mahler" Stradivarius viola)
Tamestit played two of the three solo cello suites of Bach he has recorded on the viola for the Naïve label. At times one misses the gravitas of the lower instrument, on the low notes of the C and G preludes, for example, or the folksy drone section of the C suite’s Gigue... [Continue reading]
Music by Bach, Ligeti
Washington Performing Arts
Kennedy Center Terrace Theater
jfl, Ionarts at Large: Widmann's New Viola Concerto (Ionarts, March 15, 2016)
---, Ionarts at Large: BRSO Season Opening Concerts (Ionarts, October 7, 2012)
Tim Page, From Antoine Tamestit, Arresting Viola Voicings (Washington Post, November 25, 2003)
The best so far, by far, of the Thomaner in Bach on record.
Here is your regular Sunday selection of links to online audio and online video from the week gone by. After clicking to an audio or video stream, you may need to press the "Play" button to start the broadcast. Some of these streams become unavailable after a few days.
- From the Church of Holy Trinity, Stratford-upon-Avon, a concert of Shakespeare-inspired works performed by Ex Cathedra and City Musick, directed by Jeffrey Skidmore. [BBC3]
- A performance of Janáček's Jenůfa, performed by the Czech Philharmonic at the Royal Festival Hall, conducted by Jiří Bělohlávek. [BBC3]
- Daniele Gatti conducts soprano Camilla Tilling and the Orchestre National de France in music of Mozart, Berg, and Mahler, recorded at the Théatre des Champs-Elysées. [France Musique]
- The London Philharmonic Orchestra, with conductor Markus Stenz and violinist Patricia Kopatchinskaja, plays music by Beethoven and Thomas Larcher. [ORF]
- Bach cantatas and the Magnificat, performed by Masaaki Suzuki, Bach Collegium Japan, sopranos Hana Blaziková and Joanne Lunn, and other soloists. [ORF]
- From the Wiener Staatsoper, listen to the performance of Verdi's Un ballo in maschera starring Piotr Beczala, Dmitri Hvorostovsky, and Krassimira Stoyanova. [ORF]
- A recital by pianist Evgeny Sudbin, playing music by Scarlatti, Beethoven, Ravel, and others, recorded in March at the Klavierfrühling Deutschlandsberg. [ORF]
- The Ensemble Pygmalion performs the Saint Matthew Passion, recorded at the Chapelle Royale of Versailles. [France Musique]
- Vladimir Jurowski conducts the London Philharmonic Orchestra in a concert of music by Dukas, Saint-Saëns, and others. [BBC3]
- Violinist Janine Jansen plays the Brahms violin concerto with the Sydney Symphony Orchestra. [ABC Classic]
- Pianist Lars Vogt joins the Hallé Orchestra and conductor Louis Langrée, for music by Mendelssohn, Schumann, and Brahms. [ORF]
- Music by Haydn and Britten performed by the ORF Radio-Symphonieorchester Wien, conductor Cornelius Meister, soprano Eleanor Dennis, and other soloists. [ORF]
- A performance of Tchaikovsky's Nutcracker, with Valery Gergiev conducting the Mariinsky Theater Orchestra at the Baltic Sea Festival. [France Musique]
- From 2015, Kent Nagano leads a performance by the Orchestre Symphonique de Montréal, with violinist Shunske Sato, in music by Tchaikovsky and Bach. [ORF]
- The BBC Philharmonic performs music by Ginastera, Bernstein, and Stravinsky. [BBC3]
- The ORF Radio-Symphonieorchester Wien, under conductor Andrey Boreyko, joins violinist Sergej Krylov for music by Franz Schreker, Mahler, and Shostakovich. [ORF | Part 2]
- A recital by pianist Khatia Buniatishvili with music of Liszt and Stravinsky, recorded at the Philharmonie de Paris. [France Musique]
- The Ensemble La Ninfea performs music by Sainte-Colombe le fils, Marin Marais, Jean de Sainte-Colombe, Robert de Visé, and others. [ORF]
- A concert from the Présences Festival with conductor Maxime Pascal, soprano Léa Trommenschlager, and others, including music by Gesualdo. [France Musique]
- Listen to the recording of Rimsky-Korsakov's Snegurotschka (The Snow Maiden), starring Valentina Sokolik, made in Moscow in 1976. [ORF]
- Under Yasuaki Itakura, the Orchestre National de Bordeaux Aquitaine performs music by Jean-Louis Agobet, Toru Takemitsu, and Debussy. [France Musique]
Total #SurprisedByBeauty candidate. Bach channeled strongly in these 20th Ct. works.
The Vienna Symphony Orchestra under Philippe Jordan has taken on the sensible, laudable, wonderful mission of adding Bach to its regularish fare. Last year they performed the St. Matthew Passion. Next season it will be the St. John Passion. And on March 19th, it was the Mass in B minor at the Vienna Konzerthaus – part of the now defunct “Osterklang” Festival of secular music associated with the Theater an der Wien (or rather: its Intendant, Roland Geyer).
In short, this Karl Richter memorial performance was an
W. Braunfels, Lieder, M. Petersen, K. Jarnot, E. Schneider
(released on February 12, 2016)
Capriccio C5251 | 55'40"
In the 1930s, Walter Braunfels (1882-1954) ran afoul of the Nazi party in his native Germany. His music was condemned as “degenerate” because his father was Jewish, even though the composer was raised a Protestant and later converted to Catholicism. After World War II, Braunfels returned to his teaching post at the Hochschule für Musik in Cologne, but the moment for his largely tonal style of music had come and gone. Since his opera “Die Vögel,” based on Aristophanes’s “The Birds,” was revived in the 1990s, his music has enjoyed a rebirth, helped by the advocacy of his grandson Stephan Braunfels, a prominent architect in Germany. Conductors James Conlon, of the Los Angeles Opera, and Manfred Honeck, of the Pittsburgh Symphony Orchestra, are among his champions.[Continue reading]
In addition to his operas, string quartets and symphonic music, there is now a recording of some of Braunfels’s songs, all composed before he was condemned by the Nazis, released earlier this year by Capriccio...
Franck, Piano Quintet / Debussy, String Quartet, M.-A. Hamelin, Takács Quartet (Hyperion, 2016)
Something about the opening work on this program, Dvořák's 14th string quartet (A-flat major, op. 105), just did not sit right. The first movement is somewhat episodic, and the many stops and starts did not always sound unified. The scherzo, with its furiant-like hemiola shifts, was light and even more relaxed in tempo in the trio, but by the third movement there was the sense that maybe the golden era of the Takács had come and gone, with intonation issues cropping up and the feeling that the work had not been fully digested. Happily, what followed this less than polished rendition showed it was only a fluke, a rare example of the Takács missing the target and not a sign of general decline.
Robert Battey, The dependable artistry of Takács Quartet (Washington Post, April 22)
The third of Beethoven's "Razumovsky" quartets (C major, op. 59/3) was even more winning, from the enigmatic opening chords, which proceed by sneaky chromatic shifts from an F# fully diminished seventh chord to C major. The fast section was chatty and charming, mercurial but not overly fast, and the drawn-out setup of the recapitulation was excellent, as was first violinist Edward Dusinberre on the little cadenza moment. All in all, an eye-twinkler of a piece, followed by wonderful, warm viola solos in the slow movement, with the cello staying extra-soft on the pizzicato accompaniment. This movement's restraint and dark quality are so Takács, and no one does this melancholy tone better. The Menuetto was a contrast, ultra-genial in nature, with the first violin's ornamented lines in the trio not overshadowing the melody. The concluding fugal finale was fun and fleet, the wry side of the Takács sound.
There was nothing on the program that could be construed as ear candy for audiences: relatively obscure sonatas by Mozart and Copland, interspersed with half of a set of six new partitas by Spanish composer Antón García Abril (b. 1933). Abril was one of the composers commissioned by Hahn for her ill-fated — but Grammy award-winning — Encores project, and Washington Performing Arts ponied up the money to commission this further set of pieces from him for Hahn to play. (She will play the other three partitas in the set, again presented by WPA, on October 28, 2016.) The title of Partita is somewhat misleading, implying a set of dance movements, as in Bach's set of three. What Abril has created struck me more as fantasias, as each one consists of sections in various moods and characters; perhaps we are meant to understand an earlier meaning of the word partita, before it became associated with dance movements.
Abril emphasized double-stops in all three of the pieces heard in this concert, although he did not use them in the truly polyphonic way Bach did most memorably. For example, the meandering melody of the first partita had occasional double-stops providing a short of homophonic accompaniment, and in another section drones accompanied the tune. After a series of mostly unrelated sections, the first partita just faded away on a passage of repeating sixteenth notes. The second partita was more tart in harmonic flavor, with biting rhythms, and lasted only about half as long as the first one, not adding up to much. The third partita seemed closer in character to the first, with more introspective melodies and not all that polyphonic double-stops, leaving the impression of a set of possibly pretty but rather boring pieces. The less said about the composer's embarrassing, puerile program idea ("H-I-L-A-R-Y is for heart, immensity, love, art, reflexive, you," supposedly describing the six pieces), the better. This is one of those programmatic ideas that the composer, as Mahler did with some of his symphonic programs, should perhaps have kept to himself.
Simon Chin, A lot riding on Hilary Hahn’s bow at Strathmore (Washington Post, April 21)
Jesse Hamlin, Violinist Hilary Hahn to premiere Abril partita at Davies Hall (San Francisco Chronicle, April 20)