July 31, 2014 |
On the surface, the Philadelphia Young Pianist Academy's concerts seem like a summertime variation on what's typically heard at the Curtis Institute, Astral Artists, and other local havens for young musicians. However, the first three PYPA concerts in the eight-day festival, now in its second year, featured mavericks of varying sorts, all artists through and through, but at times crossing the line into full-blown eccentricity. By design or by accident, PYPA is not more of the same.
July 1, 2014 |
With his Noel Coward-esque wit and solid command of the Philadelphia Orchestra, guest conductor Bramwell Tovey is always a delight to encounter in special, not-entirely-classical occasions that could easily fall apart under a lesser personality. But on Friday at the Mann Center, Tovey conducted music that didn't require (or receive) his usual witty introductions: Beethoven's Symphony No. 9 . It can be as problematic as it is great, yet here was thoroughly accomplished, with excitement arising from a strong musical foundation, cultivated opinions on how the music should go, and a keen ability to make that happen.
May 7, 2014 |
Symphony in C ended its season Saturday with two works that demand explanation bracketing a work that requires none at all. The Mendelssohn Violin Concerto glowed in the middle of this program like a jewel in a forest of vines and dark leaves. But those outer works insisted on the closest attention, for both Schumann's late Manfred Overture and Arnold Schoenberg's orchestration of Brahms' Piano Quartet in G minor lurk at the edge of the repertoire, posing stylistic questions and interpretive gestures.
March 26, 2014 |
Charting Beethoven's evolution from being the most genial guardian of the classical style to its executioner is an exercise done vividly and not infrequently through the string quartets and piano sonatas. But Peter Wiley and Anna Polonsky took audiences through the story from the vantage point of the cello sonata Sunday afternoon. Presented by the Philadelphia Chamber Music Society in two concerts at the American Philosophical Society, at 3 and 6 p.m., it was hardly a marathon (at least for the audience)
March 10, 2014 |
The online Beethoven course given by pianist and Curtis Institute professor Jonathan Biss last fall was remarkable for all the things it wasn't. In an age of impatience and distraction, it was a slow, deep immersion. Biss currently is recording all 32 Beethoven piano sonatas, and, despite the course's golden opportunity for marketing synergy, he barely mentioned his own recordings, or his 18,000-word Kindle Single on the subject. And in a medium that measures value through the distorting lens of hits and traffic, Biss managed to attract quite a bit of attention for the project, with lengthy coverage in the New Yorker and Gramophone.
March 9, 2014 |
In the Beethoven Violin Concerto on Thursday night, you could pick out strands of soloist Nikolaj Znaider's musical DNA - the sweetness of Fritz Kreisler, the muscularity of Zino Francescatti, and his own exquisite wisdom for setting off the poetic against the prosaic. The Beethoven with the Philadelphia Orchestra led by Stéphane Denève was a singular experience. But the Bach encore without them represented a kind of transfiguration, of the piece and the listener. The "Sarabande" from the D Minor Partita can come off as a lesson in harmony, especially in a hall as large as Verizon.
February 28, 2014 |
Leonidas Kavakos is a marvel of exactitude. There's a Leonardo da Vinci-like quality to his playing, as if you could plot mathematically how every micro move accounts for his elegance and efficiency. In this extraordinary violinist, artist and master technician coexist in polished communion. If a listener Tuesday night had to strain a bit to hear that which is human, it was understandable. In his Philadelphia Chamber Music Society recital at the Kimmel Center of four Beethoven sonatas, Kavakos was sometimes a cool customer.
February 23, 2014 |
The cost of war was palpable in the Philadelphia Orchestra's Thursday program of Strauss, Shostakovich, and Beethoven, one of Yannick Nézet-Séguin's most conceptually formidable and musically resourceful concerts. At this point in history, few of the musicians onstage have firsthand experience of the tragedies portrayed in Shostakovich's 1959 Cello Concerto No. 1 - a significant deterrent to tapping the music's fierce subtext about post-Stalin Russia. Nonetheless, the performance was bursting with empathy, the most audible manifestation being the extended cadenza in which cellist Johannes Moser (replacing Truls Mørk)
January 25, 2014 |
You've never met anyone quite like Peter Serkin before. In his three-piece suit with white pocket square, he was a natty presence on the Perelman Theater stage Wednesday night. It was the playing that was rumpled. Not always. There were many moments of incredible polish, especially when it came to the pianist's approach to sound. He has that ability to conjure an instantly rounded tone without doing any violence to the start of the note. But all over - in Beethoven no less than in a contemporary score - Serkin, 66, occupied the space somewhere between an eccentric and outsider.
January 23, 2014 |
What a difference when chamber music is played with absolutely no extraneous sound. Violinist Isabelle Faust and pianist Alexander Melnikov have considerable big-concert-hall careers. For Monday's Philadelphia Chamber Music Society concert at the Kimmel Center, however, they left that part of their musical lives behind and met small-scale works from the Beethoven, Weber, and Schubert repertoires - so much on their own terms (even more than in their prestigious recordings for Harmonia Mundi)