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 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.
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)
February 10, 2012 |
Somebody needed to program the orphans in Beethoven's output, and pianist Anton Kuerti was the one to do it at his Philadelphia Chamber Music Society recital Wednesday at the Kimmel Center. Never a glamour pianist, the 73-year-old Vienna-born, Canada-based Kuerti - his hair longer and wilder than ever - has been performing cycles of Beethoven sonatas for as far back as I can remember (40 years) and is a model of nonapologist performers. As majestic as Beethoven can be, his piano sonatas contain some of his most private music - cranky, quirky, and not always clear in what it has to say, especially pieces published not in a litter, but by themselves, without catchy subtitles or nicknames.
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)
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.
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)
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.
November 15, 2012 |
Pierre-Laurent Aimard is one of the more fascinating pianists of international stature because he meets the conservative world of dead composers halfway, but with an iconoclastic streak that promises a wild card - or three. At his Philadelphia Chamber Music Society recital Tuesday at the Kimmel Center, Aimard began by reversing the order of his program (the second half came first), and programmed an early work by oboist Heinz Holliger ( Elis ) that was particularly obscure and an encore by Elliott Carter ( FraTribute )
December 24, 2012 |
Joy is the destination emotion this time of year. And the pressure to get there is enormous, which is where Christmas concerts come into our lives. Two weekend programs intelligently attacked the problem from opposite directions: Piffaro the Renaissance Band took the left-brain route Saturday at the Trinity Center in a Germanic program with fine program notes and lighting levels that allowed you follow translations from Latin and German when guest soprano Laura Heimes was singing. On Friday, the Crossing choir at St. Paul's Episcopal Church in Chestnut Hill was a right-brain concert full of mystery and candlelit atmosphere.