February 18, 2013 |
Few musical genres are as self-contained as the African American spiritual. It needs only a single voice and steely roots in religious belief. No doubt that's one reason you don't often encounter classical concerts such as "Inspired by the Spiritual," Astral Artists' program of new works using spirituals as its basis: Adding to something that's already so complete risks artistic irrelevance. Much of what unfolded at Church of the Holy Trinity had a clear compass, each piece representing a different kind of creative springboard, all prefaced with recitations by poet/playwright Amanda Kemp accompanied by solo violinist Michael T. Jamanis.
March 12, 2012 |
Now in its third season, the Black Pearl Chamber Orchestra is finding itself a niche doing typically classical things with less-than-typical participants. Oriented toward African American musicians, founder/music director Jeri Lynne Johnson is creating audiences that seem new to Haydn and Mozart - and doing so with concerts that are first-class on every level. Though some listeners Saturday at the packed Philadelphia Episcopal Cathedral could be heard quietly humming along with Mozart's beloved Sinfonia Concertante for violin, viola, and orchestra, others applauded between movements - showing not just appreciation, but that lots of listeners were new to classical concerts.
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.
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 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.
March 14, 2013 |
Curtis Chamber Orchestra is hitting the road with its customary vigor and intelligence, though its program - performed Monday at the Kimmel Center, subsequently in Washington and New York - was a this-and-that calling card perhaps aimed more at establishing the Curtis Institute identity than at making a cohesive artistic statement. The exterior conceit in this concert, presented by the Philadelphia Chamber Music Society, was a musical meeting ground between two starry Curtis graduates from different generations, violinists Jennifer Koh (2002)
January 17, 2012 |
WILMINGTON - The division between ancient and current music sometimes barely exists: Those involved with speculative resurrection of centuries-old sound need not work that much differently to bring new music into being. So nobody should be surprised that the small, Wilmington-based chamber-music group Mélomanie had no audible problems mixing ultra-polite Telemann with Variations on a Theme by Steely Dan by Mark Hagerty, performed Saturday at Grace United Methodist Church here (repeated Sunday at the Presbyterian Church of Chestnut Hill)
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.
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.