November 25, 1988 |
Gunther Herbig, music director of the Detroit Symphony who next season leads the Toronto Symphony, will conduct the Philadelphia Orchestra in Mozart's Symphony No. 25 in G minor and Schonberg's Verklarte Nacht this weekend. The centerpiece is the Tchaikovsky Violin Concerto in D major with violinist Cho-Liang Lin. Philadelphia Orchestra at the Academy of Music, Broad and Locust Streets, at 2 p.m. today and 8 p.m. tomorrow and Tuesday. Tickets: $8 to $50. Phone: 893-1999. NEW JERSEY SYMPHONY.
August 15, 2007 |
In a surprise reversal of what appeared to be a deteriorating relationship between the Philadelphia Orchestra management and outgoing music director Christoph Eschenbach, the orchestra announced late yesterday that Eschenbach will have extended residencies in Philadelphia through the 2009-2010 season. Though Eschenbach's formal tenure as music director concludes at the end of the forthcoming 2007-2008 season, plus a previously announced tour in winter of 2009, he will also spend "multiple weeks with the orchestra conducting projects under discussion," according to a news release.
January 11, 1991 |
Everybody talks at once in Prokofiev's Third Symphony. Strings charge ahead in one direction, trumpets careen in another, timpani bangs, tambourine rattles, the piccolo has a banshee shrillness. It's a score that appropriates every inch of space surrounding the 100-plus members of the orchestra. Prokofiev composed the music in 1928-29 using thematic ideas from his at- the-time-unstaged opera The Fiery Angel. Like the theater piece, the symphony conjures heaven and hell; Russia's steppes, Stalin's sadism.
November 27, 2008 |
Harry Rosen, 84, of Center City, a former typesetter and music director, died of complications from heart failure Monday at Hahnemann University Hospital. A native of New York City, Mr. Rosen was an Army rifleman in Italy during World War II. After his discharge, Mr. Rosen, who had been a cantor in Orthodox congregations in his youth, was accepted at the Juilliard School. He hoped to study piano and conducting, but had to help support his family so he became a typesetter, said his wife, Sylvia Weinstock Rosen.
June 24, 1999 |
Peter DiMario worked after school, between cross-country meets and play practice, for months before he realized that no matter how much he worked, he would not make enough to go on a European tour with an area youth choir. "It sounds so cool to be on a European tour," said the 18-year-old. So he worked as a clerk at the auto tag agency for another year, and sold pizza and Easter flowers. Now he is preparing to leave Tuesday for the Netherlands and Belgium with Chester County Voices Abroad, a 24-member youth choir.
May 3, 2012 |
Long one of Philadelphia's proudest exports, classical music keeps flowing out beyond the city limits - more than ever, in fact, despite reports that this particular corner of the recording industry is dying or dead. Even longtime Philadelphia Orchestra music director Eugene Ormandy, who is indisputably dead, isn't acting that way, to judge from his presence on the Europe-based Pristine Classical website, which specializes in historical recordings. "He doesn't sell spectacularly as [Arturo]
July 30, 1991 |
The final week of the Mann Music Center series will have been significant for three debuts, and two of them came last night. Mariss Jansons, the 48- year-old Latvian conductor, was making his first local appearance, as was his soloist, 38-year-old Russian emigre pianist Mikhail Rudy. Since both will return in the winter season, this was a preview for orchestra audiences. Jansons has been music director of the Oslo Philharmonic since 1979, and his recordings have been making his name known more widely.
October 5, 2009 |
Shostakovich's 1943 Symphony No. 8 is one in a handful of works that fathom the trauma of the 20th century with a boldness and originality so fearless that it's not often performed around here. However compelling Symphony in C's performance was on Saturday in Rutgers University-Camden's Gordon Theater, it went far to explain why: Once the steep musical challenges are met, you're entering a World War II-era abyss that not everyone (players or audience) can or will inhabit. Full of gargantuan war-inspired orchestral effects that prompt a visceral response from any alert musician, the symphony also requires a kind of life experience that the conservatory-age Symphony in C musicians can't be expected to have.
April 3, 1992 |
Bold emotions, boldly expressed, predominated last evening when Mariss Jansons, the music director of the Oslo (Norway) Philharmonic, conducted the Philadelphia Orchestra in a program of Shostakovich, Ravel and Elgar at the Academy of Music. With considerable aplomb, Jansons showed the measure of the febrile rituals expressed in Shostakovich's Symphony No. 6, one of the least expansive and most ambivalent of the composer's symphonic output. Chameleon-like, the piece changes posture and attitudes; indeed the stern unanimity with which the violas and cellos are called upon to introduce the score hardly prepares you for its later carnival-like explosions.
February 10, 1997 |
Mariss Jansons began his tenure as conductor of the Pittsburgh Symphony Saturday, cheered on by a cohort of Norwegian fans and also by the players themselves. The 52-year-old music director-designate was greeted by a standing ovation at his first appearance, and after the last ripping chords of the Mahler Symphony No. 1, the audience was on its feet shouting, and the orchestra members were stomping their feet and applauding. The Latvian native has had the same effect in Norway, where he has been music director of the Oslo Philharmonic for 18 years.