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LIVING
April 11, 2000 | By David Patrick Stearns, INQUIRER MUSIC CRITIC
In the chamber music world, new string quartets are often thought to be the one-stop domain of the restlessly modern Kronos Quartet. But Kronos misses much, as suggested by the Takacs Quartet's foray into new music with Bright Sheng's String Quartet No. 3. The piece's local debut on Friday was part of an ongoing Takacs commitment to the piece, which the quartet premiered in 1993. That reflects remarkable devotion, and the reason is obvious: The music grows out of the great string quartet tradition with unforced freshness and communicative imagination.
NEWS
December 9, 2011 | By David Patrick Stearns, Inquirer Music Critic
Intermission chatter at Wednesday's Christian Zacharias recital took on ominous tones when one sage pianophile observed, "He tends to take things to the extreme. " And what makes Zacharias one of the most fascinating elder-statesman keyboard personalities is that you never know which extreme he'll take. Or if you're going to like it. Possessed of effortless technique, decades of accumulated repertoire, huge intellect, and wide-ranging imagination, he has options. The first half of his Philadelphia Chamber Music Society concert at the Kimmel Center brought together C.P.E.
NEWS
January 20, 2011 | By David Patrick Stearns, Inquirer Music Critic
Pianist Mitsuko Uchida has been a singular object of audience adoration over the last 25 years - for more than the reasons that are immediately apparent. Yes, you had to love the way she exuberantly arrived on the Perelman Theater stage Tuesday, in colorful harem pants suggesting she was a recently escaped genie. Artistically, she's unshakably solid, often taking on repertoire step by step from Mozart to Schubert to Beethoven. Her analytic powers yield extraordinarily communicative performances of Schoenberg and Berg.
ENTERTAINMENT
January 14, 2012 | By David Patrick Stearns, Inquirer Music Critic
The old belief that conductors don't become truly great until age 60 has wilted with so many emerging young talents whose intense magnetism leaves you unable to immediately say where they stand on the greatness continuum. The latest is Robin Ticciati, the 28-year-old British conductor who has ducked intense media glare with regional positions leading the Scottish Chamber Orchestra and the Glyndebourne Touring Opera - while slowly making high-visibility debuts. The latest - with the Philadelphia Orchestra, which he conducted at the Kimmel Center Thursday night in Beethoven's Violin Concerto , with soloist Arabella Steinbacher, and Sibelius' Symphony No. 2 - was a huge success with the audience.
ENTERTAINMENT
April 15, 2001 | By David Patrick Stearns INQUIRER MUSIC CRITIC
A first meeting with pianist Charles Rosen can seem momentous. In books, essays and recordings, he's a huge presence, crystallizing stray musical thoughts with realizations that set lightbulbs flashing over your head. He can make you feel as if you've acquired some sixth musical sense. So, upon seeing him in a chaotic backstage situation where somebody says, "Here! Meet Charles Rosen," it's easy to blurt out "Thanks for changing my life!" Embarrassed, Rosen looked to the floor in that particular instance and didn't say much.
NEWS
March 11, 2011 | By David Patrick Stearns, Inquirer Music Critic
The very idea of a chamber music gala is almost comically incongruous. Tiaras? War medals? At the Philadelphia Chamber Music Society? I don't think so. The PCMS is celebrating its 25th anniversary because it's a refuge from surface gloss, artistic shortcuts, and greatest hits. There's no lite version. The only evidence of gala-ness at the Wednesday anniversary concert at the Kimmel Center's Perelman Theater was a few extra gray suits in the audience for a program that had more collaborative elements than usual, but was fairly representative of what usually happens here.
NEWS
November 9, 2012 | By ROGER MOORE, McClatchy-Tribune News Service
THE RAREFIED world of classical music is the setting and the intimate "perfect square" of a string quartet the crucible for "A Late Quartet," a melodrama of love, lust, betrayal and Beethoven. It's a quiet film of tempestuous but predictable situations and emotions, a soap opera made watchable by its illustrious cast. Christopher Walken is Peter, the wizened cellist whose early-onset Parkinson's disease throws the famed Fugue Quartet into turmoil. Twenty-five years and 3,000 recitals into their history, things are changing, because "playing for much longer is not in the cards for me. " The maneuvering starts in an instant.
NEWS
January 27, 2011 | By Peter Dobrin, Inquirer Music Critic
A fleet, stealthy entrance. Then thunder. An unexpected shiver gives way to a warm gust. Salvation? No. Back into the abyss. Beethoven is the author of that emotional schematic - only the first two eventful minutes of his Piano Sonata in F minor (Op. 57), the "Appassionata. " But Jonathan Biss intensified it to a remarkable degree, giving him total ownership of the emotional centerpiece of his Philadelphia Chamber Music Society recital at the Perelman Theater Tuesday night. His concert - the Chamber Music Society's 1,000th since its founding 25 seasons ago - was thrilling, which was comforting in more ways than one. Biss, 30, has a career shifting into gear with commercial recordings, high-prestige appearances, and a recent appointment to the faculty of his alma mater, the Curtis Institute of Music.
NEWS
June 7, 2013 | By David Patrick Stearns, Inquirer Music Critic
In 1973, when the Philadelphia Orchestra made history in China, Inquirer music critic Daniel Webster was there. Now David Patrick Stearns reports on the 2013 visit, building on this long relationship. BEIJING - The two concertmasters bowed together Thursday, the Philadelphia Orchestra's David Kim ceding the first-desk seat to the China National Symphony's Yunzhi Liu. Though the collaboration at the National Center for the Performing Arts (known as the Egg, a reference to its glass and titanium dome)
ENTERTAINMENT
April 24, 2009 | By Carrie Rickey, Inquirer Movie Critic
In the tunnel of a Los Angeles freeway underpass, a bruised man crouches before a grubby street musician who coaxes ecstatic chords from a cello. Beethoven reverberates up from ground level, soaring above the gridlock and grime. Two birds, stand-ins for the soloist and his audience of one, ride the sound waves up to the clouds, spirits spiring. If only every sequence in The Soloist were that transcendent. Joe Wright's adaptation of the book by columnist Steve Lopez, about the newsman's encounters with Nathaniel Ayers, Juilliard-trained virtuoso sawing his instrument near L.A.'s Skid Row, is as flawed and fascinating as the men themselves.
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