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)
March 10, 2013
Inquirer music critic Dan DeLuca reports as of midweek from the SXSW music festival in Austin, Texas. See his blog dispatches at www.philly.com/inthemix
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.
January 27, 2013 |
As economic recovery hovers in midair while deciding whether to advance, arts groups aren't taking many chances. Risk happens, but only when heavily subsidized. In recent decades' implicit tug of war between what the audience wanted and where arts groups hoped they could lead public taste, the public has won. A look across a broad range of concerts this spring reveals decidedly popular programming. And yet, while La Boheme opened the season of the Opera Company of Philadelphia and The Magic Flute comes later, you might not recognize the titles of the company's other three productions, all in basically contemporary musical idioms.
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)
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.
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.
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 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.