April 12, 2012 |
Some of the more reckless philosophers I've known claim that music is not sound. What? The idea is that sound is just the vehicle of some greater experiential entity that we call music. Such notions were put a casual test by the 27-year-old European ensemble Quatuor Mosaiques in a sold-out Philadelphia Chamber Music Society concert on Tuesday. Even in the good Perelman Theater acoustics, Mosaiques' period instrument sound was demure compared to such vigorous groups as the Emerson Quartet.
May 7, 2012 |
When Wolfgang Sawallisch was winding up his Philadelphia Orchestra tenure, some of his concert programs became curiously modest. Remember Richard Strauss' 45-minute wind band piece, The Happy Workshop? In contrast, Charles Dutoit is veering toward the gargantuan in his last three subscription concerts as chief conductor. His Strauss choice is the opera Elektra later this week. And on Friday, he poured on waves of sound in Scriabin's unapologetically extravagant Poem of Ecstasy with the Verizon Hall organ powering the climaxes from within.
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.
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 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 )
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 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)
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 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)