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NEWS
February 6, 1987 | By Daniel Webster, Inquirer Music Critic
The Seventh was the last of Mahler's symphonies to be played by the Philadelphia Orchestra in its surprisingly cautious approach to that repertoire. It appeared here for the first time in 1978, and when Klaus Tennstedt led it last night at the Academy of Music, it was only the third time it had been played here. The reasons for its rarity were the very reasons for the momentous impact it made last night. More than 90 minutes long, the piece seems to be made of thousands of fragments - themes that fade, recur and merge in the composer's private visions.
NEWS
August 1, 1986 | By Michael Kimmelman, Inquirer Music Critic
Last night's Philadelphia Orchestra performance at the Mann Music Center left me both dazzled and puzzled. The sixth and final movement of Mahler's immense Symphony No. 3 was given a reading under guest conductor Zubin Mehta of such intensity and passion, such subtlety, concentration and heartfelt drama, that I found myself literally breathless and even momentarily dazed at the end. This was orchestral playing of the very highest order, and...
ENTERTAINMENT
December 7, 1996 | By Daniel Webster, INQUIRER MUSIC CRITIC
Russian baritone Dmitri Hvorostovsky said he finds German songs difficult, but in his debut Thursday with the Philadelphia Orchestra he sang a Mahler cycle in a way that suggested they are a deep part of his musical being. He sang Lieder eines fahrenden Gesellen in the first part of a Mahler program conducted by Myung-Whun Chung. The songs represent an intriguing choice for a debut, for they have none of the crowd-pleasing bravura of Verdi arias or the charm of other operatic pieces apt for baritone.
NEWS
November 25, 1989 | By Lesley Valdes, Inquirer Music Critic
Friday afternoons at the Academy of Music can have a soporific effect, induced as much by tired audiences as by often-tired programming. Yesterday's offering of works by Mark Kopytman, Mahler and Richard Strauss, with their feverish passions and exuberant colors, countered any sluggishness in the post-holiday crowd. The Philadelphia Orchestra concert was conducted by Israeli Gary Bertini, who introduced the work of compatriots Kopytman and the folksinger Gila Bashari, who performed Kopytman's 1981 Memory.
ENTERTAINMENT
February 17, 2001 | By David Patrick Stearns, INQUIRER MUSIC CRITIC
Some of the most revelatory Mahler performances these days are coming from outside the usual Vienna-Amsterdam-New York Philharmonic loop. Conductors, from Manhattan School of Music's Glen Cortese to Los Angeles' Esa-Pekka Salonen, are taking harder looks at these scores, eschewing the encroaching suaveness of our times and finding more musical incident than ever. Add to them Orchestra 2001's James Freeman, who broke from his usual programs of living composers in favor of Symphony No. 4 by long-dead Mahler Wednesday at the Trinity Center for Urban Life.
ENTERTAINMENT
January 7, 2005 | By TOM DI NARDO For the Daily News
The Philadelphia Orchestra offers two diverse programs in the next few days, both musical signatures of inspired lives. Mahler often said that a symphony should encompass an entire world. His Ninth Symphony is a universe, filled with exaltation as well as bitterness, as his vast accomplishments would only be fully appreciated in the future. Christoph Eschenbach will be on the podium leading us through Mahler's moving, emotional journey of the soul (2 p.m. today and 8 p.m. tomorrow, Verizon Hall, Kimmel Center for the Performing Arts, Broad and Spruce streets, $10-$75, 215-893-1999)
ENTERTAINMENT
April 16, 2011 | By David Patrick Stearns, Inquirer Music Critic
Once the Philadelphia Orchestra players finished their preperformance leaflet excursion into the Thursday-night Kimmel Center audience to protest Saturday's looming bankruptcy vote, certain realities set in: These subscription concerts may be the last by the pre-Chapter 11 version of this ensemble. If so, at least they are led by longtime guest David Zinman, a model of solidity bound to leave sweet memories. Typical of Zinman programs, the feel-good second half (Mahler's Symphony No. 4 )
ENTERTAINMENT
February 26, 2015 | By David Patrick Stearns, Inquirer Music Critic
The world is impossible to imagine without Mahler's Symphony No. 4 , though its well-deserved ubiquity didn't stop Chamber Orchestra of Philadelphia from indulging in amiably quixotic time travel back to when Mahler approved a parlor-size reduction, perhaps because options for hearing the large-orchestra version were limited. The 12-musician version - not counting the conductor or vocal soloists in the final movement - was made by Arnold Schoenberg's student Erwin Stein for strings, winds, percussion, piano, and harmonium - in a program that included a 14-string version of Schoenberg's challenging Verklarte Nacht . The concert was pleasing and never embarrassing (as the Mahler could have been)
NEWS
November 2, 2014 | By Daniel Webster, For The Inquirer
Unless he had monitored his audience's vital signs just before the end of Mahler's Symphony No. 2 , Philadelphia Orchestra conductor Yannick Nézet-Séguin could hardly have predicted the emotional fever that greeted the final ecstatic chords at the Kimmel Center on Thursday. The sense of release at the end of 90 minutes of Mahler's incremental structuring almost guarantees a momentous response, but this performance made its effect on emotional terms as well as on orchestral virtuosity.
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NEWS
March 29, 2015 | By Peter Dobrin, Inquirer Music Critic
After the bold individualism in his Philadelphia Orchestra program last weekend, conductor Gianandrea Noseda's Mahler Symphony No. 5 Thursday night arrived with high expectations. Audiences come to this piece loaded for bear, spiritually speaking. Its "Adagietto" is nothing if not classical music's great inspirational altarpiece. Noseda, though, was doggedly earthbound (his eyes often score-bound). His was a rather objective view. He passed over chances for wrenching moments of transition in the first movement, and led the "Adagietto" with momentum held in higher esteem than spiritualism.
ENTERTAINMENT
February 26, 2015 | By David Patrick Stearns, Inquirer Music Critic
The world is impossible to imagine without Mahler's Symphony No. 4 , though its well-deserved ubiquity didn't stop Chamber Orchestra of Philadelphia from indulging in amiably quixotic time travel back to when Mahler approved a parlor-size reduction, perhaps because options for hearing the large-orchestra version were limited. The 12-musician version - not counting the conductor or vocal soloists in the final movement - was made by Arnold Schoenberg's student Erwin Stein for strings, winds, percussion, piano, and harmonium - in a program that included a 14-string version of Schoenberg's challenging Verklarte Nacht . The concert was pleasing and never embarrassing (as the Mahler could have been)
NEWS
November 2, 2014 | By Daniel Webster, For The Inquirer
Unless he had monitored his audience's vital signs just before the end of Mahler's Symphony No. 2 , Philadelphia Orchestra conductor Yannick Nézet-Séguin could hardly have predicted the emotional fever that greeted the final ecstatic chords at the Kimmel Center on Thursday. The sense of release at the end of 90 minutes of Mahler's incremental structuring almost guarantees a momentous response, but this performance made its effect on emotional terms as well as on orchestral virtuosity.
NEWS
October 8, 2014 | By Kevin Riordan, Inquirer Columnist
When H. John Henry was a boy in Erie, Pa., his family owned an ice-cream shop. "My father made all the ice cream, and it was all great," the Camden resident, 80, recalls. "One day I'd have some vanilla, and the next day, maybe I'd have some maple walnut. That's kind of what my life has been. A taste of this, a taste of that. " That's not the half of it. Henry graduated from Penn, served in the Air Force, and sold Bibles door-to-door before becoming active in downtown Camden's artsy community of the late 1960s.
ENTERTAINMENT
November 6, 2013 | By David Patrick Stearns, Inquirer Music Critic
After Mahler, Jewish composers never turned back. In earlier times, from Mendelssohn's symphonic rigor to Offenbach's comic lyricism, Jewish composers had little sense of collective identity. But the arrival of folk and ethnic music as a basis for large-scale classical works in Mahler's time allowed a new kind of voice. It was readily identifiable in numerous guises on Sunday at Network for New Music's concert "Songs of Promise. " Jewish American composers - Richard Wernick, Daniel Asia, George Rochberg, Shulamit Ran, and Philip Maneval offered music as eager to challenge as it was to communicate.
NEWS
May 6, 2013 | By David Patrick Stearns, Inquirer Music Critic
A concert or a sports victory? The Philadelphia Orchestra performance on Friday felt like the latter at the close of the Mahler Symphony No. 1 , with each of the principal players being cheered like Olympic gold-medal winners, the biggest applause being reserved for music director Yannick Nézet-Séguin. Though Bach's St. Matthew Passion was his greatest artistic feat so far this season, this Mahler concert was perhaps Nézet-Séguin's biggest audience success - in a symphony that can more or less play itself, but is hardly fail-safe.
NEWS
November 12, 2012 | By Peter Dobrin, Inquirer Music Critic
Above all else, she makes a beautiful sound. Some singers are willing to forgo sound quality to put emotion behind a text. But in her Friday-night recital for the Philadelphia Chamber Music Society at the Perelman Theater, mezzo-soprano Bernarda Fink swathed story after story in an unfailingly civilized tone. Argentinean with Slovenian roots, Fink has the twin virtues of richness and clarity. Often it was impossible to separate her polish from that of her pianist, Anthony Spiri. In the fourth in a set of Schumann songs on texts by Nikolaus Lenau, "The Herdsgirl," Fink's sound was nearly indistinguishable from Spiri's right hand, so neatly matched were they in pitch and color.
ENTERTAINMENT
April 24, 2012 | By Dan DeLuca, INQUIRER MUSIC CRITIC
Many a demographic is super-served throughout the year on the Philadelphia film festival calendar. Cineastes with particular interests are catered to by the Latin American, Jewish, Terror, Gay & Lesbian, Science, Asian American and Animation film festivals, among others, not to mention the overarching Philadelphia Film Festival, which will take place in October this year. Add another group of movie buffs to the list: music fans. Starting this week, the inaugural XPN Music Film Festival will take place in University City, with 20 movies screening, mostly at the Annenberg Center on the University of Pennsylvania campus.
NEWS
March 16, 2012 | By Walter F. Naedele, Inquirer Staff Writer
  Morris Goldman, 93, formerly of West Mount Airy, a cofounder of the Orchestra Society of Philadelphia, died Saturday, Feb. 11, of respiratory failure at the University of Wisconsin Hospital in Madison. Former Inquirer music critic Daniel Webster described the society in a 1996 report as "one of the city's noncommercial treasures. " Mr. Goldman's son, Robert, said in an interview that his father "had an abiding love of classical music," though he had no formal training after high school.
ENTERTAINMENT
November 17, 2011 | By Daniel Webster, For The Inquirer
As the 19th century hurried to a close, European composers seemed driven to fill its last years with song. Angelika Kirchschlager underlined that point in her recital Tuesday with pianist Warren Jones at the Perelman Theater. Almost their entire program was drawn from those closing years in songs by Brahms, Hugo Wolf, Mahler, and Reynaldo Hahn that showed both a cohesive tradition and energized prospects for change. Tracing such intangibles is not the strength of many singers, but with this mezzo-soprano each song seemed important in itself and also as a pylon marking some intricate shift in an imposing stylistic continuum.
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