February 20, 2012 |
In Astral Artists' one-day Spiritual Voyages Festival on Saturday, flutist Julietta Curenton rightly occupied the "eye of the storm" slot - the middle - having been the conceptual epicenter of the three-concert event at Church of the Holy Trinity with a program that solidly bridged mainstream classical repertoire and the non-European cultures represented in the other two concerts. She and pianist Andrea Lam followed an African American program featuring composers George Walker and Alvin Singleton and preceded music of Asian and Latin American origin with composers such as Gabriela Lena Frank and musicians such as Swarthmore's Gamelan Semara Santi.
March 29, 2012 |
Only minutes into the Elias Quartet's Philadelphia debut concert Tuesday at the Kimmel Center, the 14-year-old British-based group was radiating its own distinctive charisma - without the slightest hint of musical force. Few quartets at any stage of their evolution have this much personality - as manifested by an unusually warm blend, emotional individuality in the incidental solos (especially violist Martin Saving), and a manner of expression that comes so much from the inside out that there's no need for external signposts such as sharp attacks and surface histrionics.
December 4, 2012 |
The "Cage: Beyond Silence" festival - under way at the Philadelphia Museum of Art and other venues throughout the city since late October - has moved into its second phase of concerts, concentrating on John Cage's 1970, 90-piece Song Books collection. That collection has to do much less with the typical medium of song than with the many open-ended ways Cage released the music he felt was hidden everywhere. You could count on a committed Cage experience from Ne(x)tworks, the New York sextet headed by new-music doyenne (and vocalist)
January 30, 2012 |
At age 82, composer George Crumb can consider himself complimented when listeners walk out during a new piece. Though departures were few during Orchestra 2001's world premiere of Songs From the Heartland at the Trinity Center for Urban Life on Saturday, they still reminded you of how much Crumb's individuality can still seem extraterrestrial to those who don't expect to hear familiar and exotic instruments playing in unorthodox ways. Like its six predecessors, Heartland transforms folk songs, hymns, and chants not with typical re-harmonization, but by transplanting the tunes - sung, spoken, and whispered by Ann Crumb and Patrick Mason - into an alien sound environment.
March 2, 2013 |
Whether a recitalist, concerto soloist, or member of the Johannes Quartet, violinist Soovin Kim has been one of Philadelphia's more consistent and welcome classical music guests for at least 15 years. But in his recital Wednesday with pianist Natalie Zhu, familiarity hardly meant you knew what he'd do next. The unforced gentility of his playing, prompting comparisons with Arthur Grumiaux in years past, was apparent in the Philadelphia Chamber Music Society recital at the American Philosophical Society - though not in Ravel's usually charming, suave Violin Sonata . That was reimagined as a semi-modernist companion to Webern.
December 3, 2012 |
The Cage: Beyond Silence festival - under way at the Philadelphia Museum of Art and other venues throughout the city since late October - has moved into its second phase of concerts, concentrating on John Cage's 1970, 90-piece Song Books collection. That collection has to do much less with the typical medium of song than with the many open-ended ways Cage released the music he felt was hidden everywhere. You could count on a committed Cage experience from Ne(x)tworks, the New York-based sextet headed by new-music doyenne (and vocalist)
March 19, 2012 |
For the umpteenth time, the Philadelphia Orchestra played Mendelssohn's Symphony No. 3 ("Scottish") - one of those perfect, tidy pieces by this Biedermeier-era icon, one that characterizes storms, landscapes, and local color of Scotland from a safe, symphonic distance. Usually. Every so often, the music is encouraged to burst beyond the frames that the composer so meticulously constructed - a feat accomplished by the excellent guest conductor Gianandrea Noseda on Friday at the Kimmel Center.
February 6, 2012 |
Mood-stabilizing medication is a great thing for everyday life. But in art? Pierrot Lunaire - Arnold Schoenberg's revolutionary piece exploring new vistas of madness in music - seems to have had an all-too-tempering prescription when played by the enterprising Dolce Suono Ensemble in its "Mahler 100/Schoenberg 60" concert Friday at Haverford College. About 90 years after its premiere, Schoenberg's dramatization of 21 Albert Giraud poems - portraying the normally benign commedia dell'arte character of Pierrot having gone crazy from staring at the moon - should still feel wildly mercurial and formidably atonal, with traditional vocal writing replaced by a speech-song that showcases words with an otherworldly eeriness.
March 8, 2012 |
The great art song recitalist Elisabeth Schwarzkopf often said that she sang primarily for herself, allowing her to pursue the interpretation of her dreams. British tenor Ian Bostridge seemed to take a similar philosophy to a self-indulgent maximum at his Wednesday Brahms/Schumann program at the Kimmel Center, with an idiosyncratic, private manner that one might normally witness while watching someone through a keyhole in a practice room. Many in the Philadelphia Chamber Music Society's sophisticated audience called him back for three encores.
March 26, 2013 |
If you're going to write a concerto inspired by the majesty of the Mississippi River, one appropriate voice would have to be the deep, otherworldly tuba - so often heard in everyday orchestral life but rarely in solos. Or did the tuba idea come first and the river second? Whatever the motivation, Michael Daugherty's Reflections on the Mississippi was a charmer at its world premiere by Philadelphia Orchestra's Carol Jantsch and the Temple University Symphony Orchestra on Sunday, in the ensemble's annual Kimmel Center concert.