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.
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.
May 22, 2012 |
Tempesta di Mare's 10th anniversary concert so easily could have sunk into the wrong kind of cuteness: Every piece on Saturday's program, titled "OPUS 10: Orchestra," had some connection with the number 10. And what obscure choices that might have led to! Instead, the concert at the Arch Street Friends Meeting House managed to mix mainstream baroque works by Vivaldi et al. with discoveries of momentary interest, such as John Stanley's Harpsichord Concerto (Op. 10, No. 10), and ones you want to revisit often, such as Jean-Marie Leclair's little-known Violin Concerto (Op. 10, No. 5)
April 13, 2012 |
In any symphonic performance, there's a point when those in charge need to stand back and let it happen, to allow a larger collective consciousness to take over and reveal something bigger than the considerable talent of the individuals. So it was not with guest conductor Gilbert Varga, who had clearly delineated priorities in his guest-conducting stint with the Philadelphia Orchestra Friday at the Kimmel Center, but kept his concert so anchored and controlled that some of the more imposing pieces in the repertoire felt surprisingly safe and unengaging.
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)
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)